Drawing mainly on advertisements and comics in Chinese newspapers, this book proposes a reconsideration of the seminal 1952 Bali Trip as the genesis of Nanyang style. With essays on sojourning artists like Situ Qiao and local artists such as Tchang Ju Chi, Singaporean scholar and educator Yeo Mang Thong demonstrates how Singapore was an important hub for artists who travelled to and lived in Singapore. Yeo's research, originally in Chinese, fills a gap in scholarship on the pre-war visual arts scene in Singapore; this English translation aims to bring his research to a broader audience.