This photograph has been making the rounds on Tumblr for a couple of weeks. (I found it on a l’allure garconniere.) It seems clear that long-time LIFE magazine photographer Howard Sochurek took this and many other photos on the eastern coast of Malaysia in the 1950s – some sources give the publication date of these photos in 1951 but others say 1957. The beach was then called the Beach of Passionate Love (Pantai Cinta Berahi) but Malaysian officials changed the name to Moonlight Beach (Pantai Cahaya Bulan) to reduce the sexual connotations of the name.
The photos are undeniably beautiful but I’m interested in why the photos were taken. (I’ve learned to be more than a little suspicious of mainstream images of scantily clad women, particularly women of color in “exotic” settings. The last photo – and there are many like these in the series – in which a “native man” figures as scenic background also triggers an Orientalist red flag for me. For more on this, see Mimi’s “Background Color” posts here and here.) In any case, I want to know more about the context of these photos.
So this is a public request – if anyone has more information, please share!
Thanks to Cat’s sleuthing, we now know something more about the images. In an article in LIFE magazine (31 December 1951) called “Life Visits the Beach of Passionate Love,” the journalist writes of this beach:
In Malaya in these times the beach has a special charm, for Pantai Chinta Berahi is part of a small area which remains peaceful and happy in a country widely scarred by guerrilla warfare. The pictures on these and the following two pages record a recent week’s varied activities at the beach, and confirm the widely forgotten fact no people love pleasure more than Asians.
Also, my earlier question about the Orientalist discursive construction of these images seem to be answered by the juxtaposition of images of Tai (green bathing suit) in her “modern look” with images of women in the “Malay Look” in “native dress.” In the visual language of sartorial Orientalism, “native dress” marks the (non-white) woman as inherently unmodern while the bathing suit signals a liberated and cosmopolitan femininity that is tacitly modern and Western.
More photos from this series below (note these images do not appear in the original article):