Exploring the Lesser-known Subjects in EJ (Part I)
Written by: Kayden (26-E6), Vivienne (26-E6), Yi Fang (26-I1), Wendy (26-I4)
Designed by: Rachel (26-U1)
Art
H2 Art’s requirements are more demanding than the simple assumption of “being able to draw well”, instead testing students’ ability to analyse artworks for their intent and methodology critically, and to apply those skills and creative flair in their own ways.
To be one of those who choose to pursue Art, challenging the stereotype of Singapore being “inaccessible” to such ideals and career passions, is an admirable feat indeed. Comprising of 16 students from the 2026 batch from U2 and I1, this tightly-knit group, with similar passions for the subject, gathers to explore the world of Art, one brushstroke at a time.
The uniqueness of the H2 Art syllabus is not to be taken lightly, comprising two domains of examination, theory and practical. This not only offers technical knowledge, but also the application of such to allow students to create their own masterpieces.
The first area tested is the Study of Visual Arts, comprising two topics: Visual Arts and Representations, and Visual Arts and Society.
Visual Arts and Representations – realistic, abstract, and new media representations
Visual Arts and Society – About People, Society, and Culture
This course consists of written papers, honing their analytical skills and their ability to link such stimuli to real-world examples. Students are required to draw on their knowledge of past works and experiences to develop a keen eye for the appreciation of such works, examining the technical aspects as well as the cultural aspects of such pieces to form their own interpretations. There is also an essay offering students the opportunity to think deeply about their perspective on art, allowing them to argue about their opinions regarding the subject.
Sample Essay Question: In your opinion, does installation art allow artists to interact with contemporary society in a more effective manner than other forms of art?
The other component of the course, Coursework, lets students build their creative portfolio however they wish, exploring the realms of design and reflecting on their journey of being an artist. This can come in many forms, through textiles, digital or sculptural, breaking the traditional norms of just pencil and paper. They are also marked on a comprehensive rubric, testing their technical skills, information gathering, artistic value and intent.
Contrary to popular belief, Art goes beyond just the preconceived notion of “drawing”! Eliza Yeow Teng Yenn (26-U2) states that H2 Art encourages students to explore more forms of art beyond just drawing or painting, as seen in the long list of possible artistic expressions, including textiles, digital art, and even sculpture.
Art is hardly a measure of whether a person is “good at drawing”, rather focusing on the intent and application of the student’s unique perception and definition of art, combining both practical and theoretical to create a one-of-a-kind product. With that said, what does Art mean to you?
Translation (Chinese)
Translation (Chinese) is a highly practical and bilingual humanities subject, primarily focusing on developing higher-level communication skills and critical thinking. The subject is taught in Chinese and balances theories of English and Chinese grammar in real-world applications such as advertisements, news reports, and articles. Contrary to popular belief, translation is rarely a case of word-for-word dictionary matching. It tests one’s knowledge of cultural nuances, their ability to justify linguistic choices, and a rigorous evaluation of any pre-existing translations.
We flipped through the Singapore Examinations and Assessment Board’s (SEAB) syllabus document for H2 Translation (Chinese) (9571) and pieced together a quick content overview. Content is mainly split into two separate sections: linguistics and translation studies.
Linguistics mainly focuses on the ability to accurately analyse and understand given text before any translation. It includes understanding the universal features of language, which comprises four sections:
Lexicology – word formation, idioms, derived language;
Grammar and Syntax – sentence components and structure;
Semantics – lexical meaning and relationships between words;
and Pragmatics – context-dependent meanings and the cooperative principle in human interaction.
Translation studies encompass broader areas, such as core definitions of translation, the evolution of translation, theories such as Yan Fu’s tripartite principle, and practical genres parallel to local contexts.
Typical of other A-Level examinations, Translation (Chinese) has multiple papers – Paper 1 testing Chinese to English translation, and vice versa for Paper 2. Each paper tests the student’s capability in both short and long passage text translations, as well as identifying mistranslations and picking out the best translation among the options provided.
In a short interview with Liu Baiming (26-E6), we were able to better understand the demographics of the class of 19 and bust some myths regarding the subject. With a boy-to-girl ratio of 1:18, the class is generally well-knit, considering the ability to roam freely in the classroom, located in Computer Lab 2.
Myth 1: You must get straight As in English and Chinese during O-Levels to survive in Translation (Chinese).
Not necessarily. According to the school website, the requirement to offer H2 Translation (Chinese) is A2 for English Language/Chinese and/or B3 for Higher Chinese, all at O-Levels. However, students who may not fulfil the grade criteria but show potential and genuine interest during the selection test may be considered by the teachers. Even so, it is acknowledged that O-Levels are a good estimation of one’s capability in both languages, with Chinese being more demanding. Baiming also noted that consistent practice is more important than one’s foundation. In a way, the myth is true to the extent that straight As help to set the foundation, but false because practice and interest can help one greatly improve.
Myth 2: You must have a very large vocabulary bank to be able to excel in Translation (Chinese).
False. Having a large vocabulary bank can help one better with finding phrases that may fit in certain situations, but it alone would be unable to guarantee excellence in the subject. Baiming mentions that a reasonably sized vocabulary bank would be sufficient since translation also assesses sense-to-sense; hence, the ability to accurately utilise a phrase and convey the correct meaning is more important. Furthermore, some components require text analysis, where the application of techniques and a keen eye is more significant.
While individual aspects of the subject – its content, assessments, or student demographic – may be viewed in isolation, they only tell a part of the story. Piecing the puzzle parts together, they reveal a subject that is both intellectually rigorous and culturally enriching.
Looking beyond the myths allows us to appreciate Translation (Chinese) for what it truly is, rather than what it is often assumed to be!
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