Speech by mr Lui Tuck Yew, acting Minister for Information, Communications and the Arts, at the committee of supply debate on arts and culture.
1. Mr Chairman, I thank the Honourable Members who have spoken for their strong support in the development of arts and culture in Singapore. In responding to the Members, I will elaborate on how arts and culture can enhance Singapore’s liveability and contribute to our vision for Singapore to be an endearing home and leading global city in the heart of Asia.
Economic Strategies Committee’s Recommendations
2. To become a leading global city, we need to move beyond our established strengths in economic development, governance and infrastructure. One area where we need to further improve on, when compared to the top tier of global cities, is in the arts and culture sector. To this end, the Economic Strategies Committee (ESC) had recommended that we make significant investments to better our cultural landscape, especially in the software aspects.
3. Mr Chairman, MICA will focus on three areas in 2010. First, we will conduct a strategic review in the development of the arts and culture. Second, we will invest more in distinctive content creation and capability development, particularly in the traditional and literary arts. Third, we will broaden and deepen community engagement.
Arts and Culture Strategic Review
4. The seminal work of the Advisory Council on Culture and the Arts (ACCA) in 1989 led by then 2DPM Ong Teng Cheong, mapped out the blueprint for the development of this sector. It made a number of key recommendations – improvements to organizational structures, the education system, to infrastructure and facilities and greater promotional efforts for the arts and culture. New and upgraded museums, the Esplanade and a new library are among the most tangible outcomes of the study. But it is more than that. It has helped us better appreciate the importance of the arts and culture - to broaden our minds and deepen our sensitivities, to improve our overall quality of life, to contribute to a more culturally vibrant and gracious society and to strengthen our social bonds and emotional rootedness.
5. Over the years, we’ve initiated a number of plans to bring to life the vision of the ACCA. More recently, these were encapsulated under the series of Renaissance City Plans (RCP) from 2000. Its key strategies were directed towards the focus areas of developing Distinctive Content, shaping a Dynamic Ecosystem and growing an Engaged Community. The RCP’s contributions were felt beyond our society as it sought to internationalise our arts and cultural activities and to explore arts business as a new growth opportunity. These were supported by a number of initiatives like the Heritage Industry Incentive programme (HI2P), the Arts for All community engagement plan and the Arts Creation Fund to grow Singapore’s trove of high quality distinctive artistic content.
6 All these efforts have contributed to the development and increased vibrancy of our arts and cultural scene. Today, we have a daily average of 80 arts and culture-related activities, 2.5 million visitors to our national museums and 1.5 million ticketed attendance at arts events annually. The number of Singaporeans attending at least one arts event a year has increased from 1 in 3 (33%) in 2005, to 2 in 5 (40%) in 2009; and the number of Singaporeans who are learning or taking up an arts activity in their personal time, or volunteering their support for the arts, has doubled from just 1 in 10 (10%) in 2005 to 2 in 10 (20%) in 2009.
7. Mr Chairman, from time to time, a thorough re-evaluation of our strategies is useful as we aim for the next quantum leap to distinguish our arts and culture from that of other emerging global cities.
8. With this purpose in mind, MICA, together with our partners from the private and people sectors, will embark on a major Arts and Culture Strategic Review (ACSR) for Singapore’s cultural development. Our overall goal is for twice as many Singaporeans – from 40% to 80% - to attend and benefit from at least an arts and cultural event a year by 2025. We also want to encourage participation by Singaporeans in the arts from the current 20% to 50% in the same timeframe, such as by learning or taking up an arts activity in their personal time, or volunteering for the arts.
9. The main focus of the ACSR will not be on major infrastructural development although there is still work to be done in this area. Rather, the Steering Committee will take the broad recommendations outlined in the Economic Strategies Committee report, crystallise concrete strategies and propose major initiatives to realise the vision. For example, it will recommend the place making efforts necessary to develop socially and economically vibrant cultural precincts. It will also identify concrete strategies to mould distinctive peaks of excellence that would differentiate and distinguish Singapore as a global city; and chart comprehensive talent development pathways that could nurture the creative capacity of people at all levels, from casual practitioners to star talents.
Distinctive Content Creation and Capability Development
Sustaining and Nurturing the Artists and Arts Groups
10. Let me thank Ms Audrey Wong for her thoughtful comments and suggestions as to how MICA can do more to nurture and grow our artists and arts groups. I will attempt to address some of her points here.
11. Over the years, Singapore has grown a base of established and up and coming artists and arts groups. A number have started to gain international repute, some of them with the support of NAC. Going forward, NAC will re-fine its current support schemes to develop a suite of capability development tools that will be more targeted to the varying needs of artists and arts groups according to their stages of development. But we also need to look beyond individual artists and groups to see how we can groom organisations like professional and industry associations and what roles these can play in developing and professionalising the sector through research, training and collaboration.
12. Ms Wong spoke about talent development and allowing room for experimenting and risk taking. I agree with her. NAC launched the Arts Creation Fund in 2008 to encourage artists to forge new artistic frontiers, engage in experimentation and risk-taking without excessive financial pressures. To date, some twenty projects by established but also young, emerging artists and writers have been supported.
13. NAC has also invested heavily in capability development and training. In 2009, grants increased from $1.5m to $2.5 million. 83 recipients in 2009 benefited from $1.6 million worth of local and overseas scholarships and bursaries, including fpost-graduate scholarships for continuous training and education. There are also other programmes, such as the International Arts Residency scheme where our artists can hone their craft at the prestigious Künstlerhaus Bethanien in Berlin and Parisian theatre school Ecole Phillippe Gaulier, amongst others.
14. Many past beneficiaries of these schemes such as Lee Huei Min, Noorlinah Mohamed, Donna Ong and Brian Gothong Tan have gone on to make valuable contributions to the Singapore arts scene. Overall, these schemes have been important in developing thought leadership, research talent, capabilities for discourse and criticism, and raised the overall quality and professionalism of practitioners and those in supporting industries.
15. We also need to make sure that we have sufficient capacity in the technical and managerial spheres. To meet the need for professional arts managers, NAC partnered the Workforce Development Agency (WDA) on the Professional Conversion Programme for arts managers in June 2009. NAC will build on these initial efforts and work closely with partners such as WDA, arts organisations and education institutions to provide more opportunities for continuous professional development in the arts sector.
16. Ms Wong is right that the sustainability of the sector requires an ecosystem, not only of artists and arts groups, education institutions and researchers, but also for-profit arts companies. These for-profit arts companies play an important role in the long-term sustainability of the arts sector and contribute much to other economic sectors such as tourism, entertainment and hospitality. They help provide diverse career opportunities and facilitate skills transfer between the non-profit and for-profit sectors. It is therefore important to create an environment that is conducive to these companies. To this end, the recent tax initiative by the Finance Minister to reduce Withholding Tax will help and NAC will work with the Economic Development Board through the City Alive! Initiative to better cultivate such companies and facilitate linkages between the non-profit and for-profit sectors.
Community Engagement
17. Dr Ong Seh Hong commented that new migrants bring with them diverse and colourful cultures, arts and traditions, and we need to remain open and inclusive. That is the right thing to do. They can contribute toward building a culturally vibrant and engaged Singapore.
18. Such new cultures, arts and traditions add colour and vibrancy to our society and help Singapore become a distinctive global city. Over the years, some of these new migrants who are arts practitioners have integrated with the local community and enriched our local arts scene with their experience and expertise. Brian Seward, Founding Member and Artistic Director of I Theatre Ltd, as well as Liu Bin, composer and director of Liu Bin Cultural Arts are just two examples. Seward, who came to Singapore 15 years ago, is former Department Head and Drama Examiner of schools in the UK and has been in Singapore since 1995 teaching drama, writing and directing. He puts together family-oriented plays, and about three to four plays a year. Liu Bin is a graduate of the Shanghai Conservatory of Music. He has been in Singapore for more than 18 years and is currently the conductor of many orchestras in schools.
19. NAC plays an active role promoting social cohesion, strengthening community bonds and mutual understanding of diverse cultures through the arts. Examples include NAC’s Arts Community Tours, a touring programme which brings arts performances and exhibitions to various constituencies; and the District Arts Festivals, a collaboration between People’s Association (PA), Community Development Councils (CDC) and NAC, which create opportunities for interaction between communities and are showcases for a variety of artistic talents. We know through anecdotal accounts that some of these new migrants are already involving themselves in these arts and cultural activities at the grassroots level. NAC will continue to work with community partners to generate more opportunities for increased community participation and integration.
20. Another important initiative has been the Arts for All programme. Launched in 2008, it has so far reached out to about 200,000 participants, many of whom first-time participants, through more than 400 activities. I understand that drumming and ceramic workshops alone attracted 800 senior citizens. Such interactive activities help bring artists to the community. For 2010, some 20 arts programmes have been planned.
21. Our outreach to the youths is through avenues likeNoise Singapore, a platform to showcase young talents. As Noise Singapore is a partner of Singapore 2010 Youth Olympics Games, our youths are excited to have the chance to be seen and heard by an international audience, come August.
22. Heritage institutions are yet another avenue where we reach out to local communities and connect with new migrants and residents to facilitate their integration into Singaporean society. Institutions like the Malay Heritage Centre, the Sun Yat Sen Nanyang Memorial Hall and the upcoming Indian Heritage Centre are important. They help showcase and promote understanding of Singapore’s diverse multi-cultural heritage and present Singapore’s cultural and historical links to the wider region. Building connections, integrating new residents in our midst and fostering cultural understanding between different communities will widen the common space for all and help to strengthen our Singapore identity.
23. Another example, the annual Singapore Heritage Festival organised by NHB to celebrate our nation’s rich multicultural heritage, draws Singaporeans from all walks of life, including new citizens. Many have been forthcoming with their support. It provides opportunities for new citizens to join long-time residents in performing at the various hubs, and help out in the many exhibitions and activities organised as part of the festival.
24. As part of MICA’s effort to broaden and deepen community engagement in arts and culture, I am pleased to announce that beginning in June 2010, Singaporean and Permanent Resident students will enjoy free entry to permanent exhibitions as well as discounted rates for special exhibitions in the museums under NHB. We hope this will inculcate an early appreciation for heritage and make the museums more accessible to the young.
25. Ultimately, one tangible outcome of our various outreach efforts is a more engaged community. In an engaged community, individuals and organizations will seek ways to get involved, volunteer and contribute. To help drive MICA’s efforts in this regard, the Arts and Cultural Development Office recently launched “give2arts.sg”, a cultural philanthropy portal that makes it convenient for the public to lend support to arts and culture through donations, big and small, and for Singaporeans to volunteer in support of a range of arts and cultural programmes. We urge more Singaporeans to come forward to do so.
Content Creation and National Identity
26. Mr Calvin Cheng, Ms Audrey Wong and Mr Ong Seh Hong have spoken on our cultural development and its part in building up Singapore’s national identity. The two are symbiotic. A nation’s culture and its expression through the arts and other creative fields help shape its sense of identity and its distinctiveness.
27. Ms Wong also asked the Government to do more in developing and furthering the appreciation of local content and expressed that this requires a more pervasive approach across multiple platforms. We do this by commissioning and featuring local creators and content at domestic and international platforms. International platforms are important because they spur our artists to higher standards and build our reputation as a global arts city. For example, visual artist Ming Wong received a Special Mention award at the 53rd Venice Biennale. At the invitation of the Edinburgh Festival 2009, the Singapore Showcase, which featured many of our artists and arts groups, was favourably received and well reported. Our next Showcase will be in Paris in October 2010 and anchored by the Peranakan exhibition at Musee du Quai Branly. While our museums have begun to lend artefacts and export exhibitions in recent years, this exhibition is the first at a major western museum, showcasing the Peranakan culture of Singapore to the French audience.
28. Building on the success of Singapore Arts Festival 2009, we will present the Singapore Arts Festival 2010 as a “People and Creation Festival”, to bring focus to the Festival as a platform for more local talents to develop and showcase new works. Among the many highlights, the 2010 Festival will feature new interpretations of seminal works by Singaporeans over the years. This will strengthen our artistic heritage and cultivate a new generation of arts lovers.
29. In the field of media, MDA promotes and supports made-by-Singapore productions through collaborations with international agencies and broadcasters. The quality of our made-in and made-by Singapore content is evidenced by its success in engaging and entertaining audiences. I mentioned “Dinosaur Train” earlier - it is now the number 1 show on PBS Kids in the US. Even before the cameras started rolling, our Young Artist Award winner Boo Junfeng’s feature film “Sandcastle” was signed by Fortissimo Films, a global distribution leader that helped Wong Kar-Wai to become the renowned Asian filmmaker he is today. Increasingly, our media talents are recognised at home and abroad.
30. Mr Calvin Cheng highlighted the important role that the print and broadcast media play in shaping our cultural identity. I do agree with him. He expressed concern over the excessive use of Caucasian models in our magazines and fashion shows and suggested that we cap this.
31. We need to strike a balance and we need to send the right signals. At this stage, I believe we can be quietly confident in our cultural identity. Singapore’s place in history and in the future at the heart of a thriving Asia has always been as a confluence between East and West, multi-cultural in its makeup and cosmopolitan in its outlook. As we take steps to strengthen our position as a global city, it is wise not to be too inward looking. Our doors are open; we welcome the rest of the world just as we hope our artists, designers, filmmakers, models and others will be welcomed overseas.
32. Singapore has a thriving publishing industry, with about 5,500 titles imported annually and about 2,600 local magazine titles in circulation. These magazines have an international audience. As long as they do not breach the content standards set by MDA, it is best to let editorial judgement and business considerations determine how publications best cater to the tastes of their readers.
33. As for the presence of more local faces at fashion shows, events like the Singapore Fashion Week are international in outlook and draw buyers from around the world. While we can encourage them to engage more local models, the international nature of the show would make it impractical and discriminatory to cap the use of models of any particular race.
34. Mr Cheng also mentioned the work of the Esplanade. Esplanade’s programming focus has been to cultivate interest in Asian culture through festivals such as Huayi (Chinese festival of Arts), Pesta Raya (Malay) and Kalaa Utsavam (Indian) so as to strengthen our communities’ sense of cultural identity. In fact, the majority of performances presented by the Esplanade are by local groups. Of ticketed performances in FY2009/10, 321 or 68% were by local groups and for non-ticketed performances, 1492 or 81% were by local groups.
35. The Esplanade knows that our cultural scene is enriched by a diverse mix of performances and artistes. It is increasingly a premium destination in Asia for world-class international acts as touring groups now ask to perform at the Esplanade. It also lends support to many local groups. For example, it collaborated with Singapore Repertory Theatre to make possible their first large-scale work with the Royal Shakespeare Company’s King Lear and The Seagull in 2007, followed by The Bridge Project – The Winter’s Tale in 2009. The latest in this series is The Tempest which will open in April. This initiative by the Esplanade, which has to be exercised judiciously, will help local companies shoulder the risks of presenting large international productions and give them valuable exposure to international presentation standards and expertise.
Traditional And Literary Arts
36. Moving forward, we are committed to further strengthen the opportunities available to our artists and arts groups to draw on our cultural and artistic traditions, as well as leverage the power of the written word to create works that will reflect our Singaporean identity. This year, NAC will launch the Traditional Arts Plan and the Literary Arts Plan. Both will see the doubling of annual government investment over five years.
37. For Traditional Arts, this will amount to S$23 million. We will focus our efforts to professionalise traditional arts groups and artistes; support the development of quality content; and ensure that traditional arts is accessible to the community. To support this endeavour, we intend to designate the Telok Ayer Performing Arts Centre to have a greater focus on traditional arts.
38. Let me now touch on the literary arts. Powerful, incisive language brings essential truths to life. It conveys depth of meaning, passion and resonance, it spans time and cultures and it has the capacity to move the spirit and stir the soul. A strong foundation in the Literary Arts, be it in poetry, drama, essays, prose or novels, is a powerful tool for more creative expressions in our everyday lives. For example, it is a key ingredient whether we are telling a fascinating story, writing an interesting script or composing an appealing song.
39. The Literary Arts Plan, with S$24 million support, aims to develop writing talents to enrich our cultural scene and give voice to our unique national identity. The Singapore Writer’s Festival, a key platform under this Plan, will become an annual event from 2011. I will ask the champions of SWF to consider carefully Ms Ng’s suggestion for a more suitable name to better reflect its scope and objectives.
41. I agree with Ms Irene Ng that a holistic approach is necessary to effectively promote the literary arts. The promotion of a writing culture must go hand-in-hand with a love for reading. We have regular story-telling sessions at the public libraries and outreach programmes like READ!Singapore and the 10,000 Fathers’ Reading event.
42. The new Literary Arts Plan will be a comprehensive plan to cultivate greater interest in literature among the young, promote literary arts as a key tool to strengthen creative expression, grow our pool of writers and develop a robust publishing industry. NAC will invest in writers through differentiated and targeted capability programmes, grow intermediaries and distributors through suitable incentives and increase the profile of Singapore writers, publishers and literary works both nationally and internationally.
SOTA
43. Mr Arthur Fong, Mr Teo Ser Luck, and Mr Zainudin Nordin have requested updates on our efforts to nurture young talents through the School of the Arts (SOTA). SOTA commenced the current academic year at its permanent campus at No. 1 Zubir Said Drive, next to the Cathay Building, with a total student population of 586 students from Years 1 to 4.
44. SOTA is well received by parents and students. Last year, about 1,000 students auditioned for the 200 places in the annual intake. Admission at Year 1 is through the MOE Direct School Admission (DSA) process. Older individuals seeking to transfer from their secondary school into SOTA may audition at the SOTA Talent Academy held every March and June.
45. SOTA offers a dedicated six-year pre-tertiary programme, comprising four years of school-based curriculum leading up to the International Baccalaureate (IB) in Years 5 and 6. The first cohort is expected to take their examinations in 2012. Since the IB Diploma is an internationally recognized qualification, SOTA students, upon completion of the IB, can expect to enter higher institutes of learning of their choice - be it arts conservatories to further their artistic development or universities in Singapore or abroad.
46. SOTA’s unique proposition lies in its pedagogy which makes meaningful connections between the arts and academic subjects to provide an enriched teaching and learning experience for those who are talented in the arts. The distinctive curriculum and learning environment have attracted highly-qualified teachers with teaching and industry experience, and prominent artists, into SOTA’s arts faculty as well as full-time practitioners who teach on a part-time or adjunct basis, such as Cultural medallion recipient Lynnette Seah. In addition, SOTA has established partnerships for faculty and student exchanges, curriculum development and assessment with established overseas arts institutions such as the Chicago Academy of Art (USA) and the Shanghai Conservatory of Music Middle School (China).
47. Sir, in conclusion, let me reiterate that MICA is committed to nurturing our talent and ensuring the sustainability and vibrancy of our cultural landscape. We will work closely with the arts community, private and people sectors in the upcoming Arts and Culture Strategic Review. This will prepare Singapore to make that quantum leap towards the next phase of cultural development, and become a leading global city and endearing home for Singaporeans.
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