The arts in Singapore: Entering the next decade

Good afternoon!  I am happy to join you at the 38th Patron of the Arts Awards, albeit virtually.

The arts in Singapore

I have been at MCCY for slightly over a year now.

One of my personal highlights in this portfolio is that I get to experience, first-hand, the remarkable diversity and the rich vibrancy of the arts scene in Singapore.

Over the last year, I have had the privilege of meeting many; also sharing a coffee or two, with many Cultural Medallion and Young Artist Award recipients, local theatre, music and dance groups. Traditional arts organisations; Art gallerists, writers, educators, students; Musicians, painters, freelancers, and many others.

Quite naturally, a lot of our discussions centred around the immediate COVID-19 situation; its profound impact on all of us, and also what we can do looking further ahead, and how we can better prepare ourselves for a post COVID-19 world.

The arts is a platform which relies heavily on the discourse, and the interaction between artists and audience. It is something we have not been able to do in the same way as before. But in my conversations, I have seen the resilience of the arts community. I saw for myself first-hand, their passion for their craft, and heard many determined aspirations for the arts landscape in Singapore. There were also many constructive suggestions, some of which form the backdrop to what I will be speaking on this afternoon.

One common theme which emerged from these conversations was how the arts in Singapore has come a long way, over the past few decades. And how we have evolved.

Today, we have a strong and vibrant arts community: One that spans across different generations, unique artistic traditions and diverse cultural backgrounds. One that is involved in a wide range of art forms, from the traditional to the modern, across different genres and, increasingly, even cross-genres. One where each individual play different roles – including practitioners, educators, administrators and fundraisers. And one which I believe strengthens relationships and deepens engagement with a growing base of patrons, supporters and, of course, with our audiences and visitors to our cultural offerings.

Over the years, Singapore has also successfully established high quality and internationally regarded cultural institutions, such as the Esplanade and National Gallery Singapore. Together with highly respected educational institutions like the School of the Arts (SOTA), Nanyang Academy of Fine Arts (NAFA), LASALLE College of the Arts, and the Yong Siew Toh Conservatory of Music.

All of these moves would not have been possible without the hard work, and the sheer courage of conviction of the arts community, arts patrons, and policymakers.

Indeed, this partnership between the arts fraternity, patrons and government, including an annual spend on arts and culture amounting to about $450 million annually since 2013, is bearing fruit.

What I consider priceless, however, is the progress that we have made in strengthening:

(a) The role of the arts, as an anchor to our distinctive Singaporean identity.

(b) Fostering cross generational links to our own heritage.

(c) And deepening the foundations of our unique culture, to inspire, motivate, and uplift Singaporeans.

In my mind, there is no doubt that local arts and culture are essential to our society, essential to nation-building and will continue to be so. Probably increasingly so. It is a valued weave which binds each of us together, making up our Singapore Tapestry.

An inflection point

Another theme which was brought up in my discussions with the arts community, and with MCCY and National Arts Council (NAC), was a palpable sense that we, collectively, as a Singaporean arts community, are now at an important inflection point. Let me explain.

Up till COVID-19, the arts in Singapore had been on a fairly healthy and positive trajectory. The scene was exciting and burgeoning, with new diverse talents coming to the fore. On the international stage, our artists, and Singapore as a whole, have also been gaining increasing recognition at key festivals, biennales and art fairs. Domestically, donations from the private sector, coupled with the dollar for dollar matching of the Cultural Matching Fund (CMF), has strongly supported the arts and heritage sector with close to $650 million since the inception of CMF in 2014. In 2019, as one indicator of measure, 69% of Singaporeans attended arts and culture events; 75% consumed arts through digital media, and 82% felt that the arts fostered a greater sense of belonging.

Then came COVID-19, which battered and railroaded the arts sector all over the world. It has been tough, and we all know that we are not yet out of the woods, by any stretch. And I acknowledge just how difficult it has been for so many of our artists. But at the same time, it heartens me that Singapore has largely been able to preserve our arts and culture capabilities even through this very difficult time.

Since the start of the pandemic, NAC has been instrumental as a strong advocate for the arts community. They have worked, often behind the scenes, on COVID-19 safe management and support measures, including the $75 million Arts and Culture Resilience Package (ACRP). I must say also that unlike many other countries where orchestras and museums have let go of, or furloughed their staff, we have not had to do so in our key cultural institutions. Many of the organisations which form the bedrock of our arts ecosystem, such as NAC’s Major Companies, have remained steadfast and resilient. In no small way, this has been due to the continued generosity of patrons such as yourselves, from the support of the general public, as well as the government’s support through initiatives like the ACRP and others.

Our arts freelancers and SEPs have also been hard-pressed. NAC’s Arts Resource Hub (ARH) organised COVID-19 Recovery Grant engagement sessions and clinics with MSF, shared advice and supported SEPs through its Ask NAC sessions, and co-organised a career fair with e2i for the arts and creative sector. Through ACRP and other targeted schemes, NAC has also generated about 12,000 work and training opportunities for arts groups and SEPs.

Each of these steps and more help to preserve the core of our arts talent.

In the same vein, many of our longer term plans remain in place. For example, we announced plans earlier this year to establish a new university of the arts, through an alliance between NAFA and LASALLE. Our infrastructure projects, such as the new Esplanade Waterfront Theatre, are still proceeding; as are our plans to upgrade existing arts housing spaces such as 45 Armenian Street.

We have continued to invest strongly in local talent, such as through the annual NAC Arts scholarship. This year, our scholars have gone overseas to Goldsmiths, Berklee College of Music, the Royal College of Music, and many other top-tier institutions. They will return to add to the rich diversity of art talent in Singapore.

And throughout this time, we continued to make arts accessible to Singaporeans even as we were encouraged to stay at home and be safe, we launched the SG Culture Anywhere campaign which brought arts content onto digital formats.

A very important reason for all the above has been the unstinting commitment to the arts in Singapore by our private sector patrons and supporters. You have not wavered throughout the pandemic, and I want to thank all of you very much for this.

To go back to my earlier comment – that we are at a point of inflection – where do we go from here?

This year, NAC celebrates its 30th anniversary. It is timely for the government, the arts community and our partners to think deeply and reflect on what we want our arts landscape to look like, as we enter the next decade and beyond. Whether with COVID-19, or otherwise. Let me share some of the more immediate moves which we will be making over the next year, to set us on this course.

The arts in a diverse and complex future

First, increasingly, Singapore society will become more diverse and complex as it matures. This is not a bad thing.

We will always continue to be a small, but open society, continually exposed to ideas, influences and trends from other parts of the world. We will, as a society, need to navigate the geopolitical, economic and cultural landscape carefully, keeping in mind our own local context, where we are sui generis in many ways, and our own core values as a meritocratic, multicultural society.

Our arts will, and indeed must, continue to reflect a strong and distinctive Singaporean identity, whilst always remaining open and outward-looking.

The launch of the showcase on Singapore's Cultural Medallion recipients at The Arts House later this year will be one clear step in this direction – where we raise our collective awareness of Singaporean art, and of Singaporeans whose artistic excellence, contribution and commitment have deeply enriched our arts and culture landscape. The gallery is an invitation to all to learn more about our cultural icons and their artistic practice, through interactive and informative digital components. NAC is also working with the National Library Board on a national digital repository of Cultural Medallion works.

At the same time, the government, arts community, and other stakeholders in the broader society must, more than ever, work closer together, to foster a shared sense of vision and direction, all pulling in the same direction. And this starts with having a better appreciation of our respective aspirations, interests and sensitivities.

We want to nurture a deeper understanding between different segments of the arts community, build up mutual trust and forge a stronger compact.

As an immediate step, NAC will consult broadly and deeply for the next iteration of the Arts Plan, engaging more than 1,000 persons across the arts community, business and social sectors, public agencies and community stakeholders.

In the first phase, NAC has already conducted 60 deep-dive conversations with thought leaders. I think the message was very clear: the arts play a prolific, profound role in society. This also encompasses how the arts reflects and allows us to express our national identity; how it creates common space to strengthen community bonds, engenders a creative economy, and enlivens the city where we live, work and play.

Over the next few months, NAC will be hosting broader public engagements to gather views and test ideas. These engagements will be candid and constructive, and will form the basis of our blueprint and vision for the future arts and culture sector. I invite all of you to join us, share your views, and write a new chapter together.

The arts in the future economy

Second, we will do more to have the arts thrive as a key part of our future economy, and provide meaningful careers for those who choose to join the arts sector and for whom the arts is the source of their livelihoods.

For this to happen, we have to start by making the economics work. Global cultural hubs such as London, New York, Paris, Beijing, Tokyo, Seoul and Taipei are well-supported by sophisticated value chains – which includes government funding, philanthropic support, and also a competitive business model and landscape.

In Singapore, the government will continue to provide strong support for the arts. But we will need more hands on deck if we are to have higher ambitions.

Cultural philanthropy

Cultural philanthropy already plays a crucial role in the development and coming-of-age of our local arts scene. Throughout our short history, the arts in Singapore has benefitted deeply from the generosity of patrons, like yourselves.

As early as the 1940s and 1950s, our pioneer artists like Cheong Soo Pieng, Chen Wen Hsi, Chen Chong Swee, Liu Kang and Georgette Chen could thrive because they were well-supported by benefactors. These early patrons include familiar names like Dato Loke Wan Tho, Tan Tsze Chor, Frank Sullivan and Malcolm MacDonald, to name a few.

Today, our cultural philanthropy landscape has evolved to more than just providing monetary support.

Industry expertise, specialist advice and assistance from companies and experts have become key pillars of support. For example, Accenture collaborated with National Gallery Singapore as its Innovation Partner to introduce [Adopt Now], an art adoption programme powered by blockchain crowdfunding, while StorHub Self Storage opened storage facilities to theatre companies. Mapletree Investments also stepped up support over the past year, recognising the vitality of the arts in place-making.

At this Patron of the Arts Award, let me take the opportunity to recognise our many benefactors of the Singapore arts scene. 264 individuals and corporations stood by our artists, arts groups and cultural institutions in a difficult last year.

I thank all of you here today for choosing to give so generously to the arts. Your contributions allow us to invest in the future of our artists, audiences and arts spaces.  These include Pierre and Bolor Lorinet’s donations to NAC’s Sustain the Arts (stART) Fund to help smaller arts groups develop organisational capabilities; Singtel's commitment to Esplanade's new waterfront theatre; UOB's recent contribution to the Business Times Budding Artists' Fund which gave 993 children and youths from disadvantaged backgrounds access to visual art programmes.

I hope we can continue to explore even more ways to grow the partnership between patrons and the arts community, and offer your business experience and domain knowledge in areas like finance, marketing, legal and governance, all of which will be relevant not only in supporting our arts, but also in fortifying the arts economy in Singapore.

Experimentation and innovation

Next, we will also redouble efforts to promote experimentation and innovation in the arts. We want to encourage new forms of art creation, presentation, and engagement with existing and new audiences – part of our hope that everyone has equal access to the arts.

One important issue which we need to address is that of space, which is important for arts practitioners to experiment, innovate, incubate and create works that can connect with audiences.

In many of my coffee chats and informal meetings with arts practitioners, one common theme was the need for more of such spaces for experimentation and incubation.

These spaces give an opportunity for young, budding, nascent talent to experiment, and eventually break through, gain recognition and eventually gain a foothold in the sector.

On this issue, we will take a few immediate steps.

First, NAC will set up varied incubatory spaces to complement the existing Arts Housing Spaces. The Arts Resource Hub will offer revitalised spaces at 42 Waterloo Street in the last quarter of 2021, for practitioners to network, trial new ideas and share best practices on digital and technology tools.

Second, NAC has partnered with the Singapore Land Authority to work on setting up pilot arts sandboxes in Kampong Java. We looked around, and have identified a nice site for this. We will initiate this project early next year to canvass ideas and views from the community, and then do some retrofitting of the premises so that arts groups can use the spaces well. We are aiming for the space to host multidisciplinary artists and give them an affordable space to focus on their experimental and creative processes.

Beyond hard infrastructure, NAC will also explore green field projects with public agencies and the private sector, to tap on their networks, expertise and schemes. For example, we had recently put out a joint STB-NAC Performing Arts Tours Pilot Grant to support the development and test-bedding of innovative performing arts tours by tour operators and arts practitioners. This will help some of our arts groups develop sustainable revenue streams in the longer term. We expect technology to be increasingly prevalent, so we must be ready to harness its power in the way we create, convey and consume the arts.

The arts in a time of COVID-19

Finally, we need to embrace the changes which COVID-19 has foisted upon us.  We cannot go back to what it was like before.

All of us have had our own lived experiences, over the last year or so. The pandemic has fundamentally altered our operating assumptions and environment, and made us question the familiar, tried and tested. Indeed, there is not much that is tried and tested in this COVID-19 world.

But at the same time, amidst the challenges, we have also seized opportunities.

Many of our artists have rallied together – to help one another, share resources, and come together to put up performances and presentations. Many arts groups have done so on various platforms.

NAC consulted extensively with the arts community on the architecture of the Self-Employed Person (SEP) Grant and the Organisation Transformation Grant (OTG) to give immediate assistance, and also drive change and transformation. To look at the here and now and solve the problems, but also to look ahead to see what we should be doing to position ourselves. To date, we have supported more than 100 projects for the SEP Grant and over 30 for the OTG.

These have been encouraging, we are also happy to see the arts community already using these grants in innovative ways. Through the SEP Grant, David Siow organised the Singapore Showcase @ ASEAN Music Showcase Festival 2021, which featured Singaporean musicians performing on a regional stage and marketplace, and created opportunities for SEPs to work, network and expand their presence. The Props Collective is looking to provide a centralised props storage warehouse solution for theatre companies, through the OTG. This will help companies build connections, harness and share experiences and resources, to reduce the cost of art making.

All of this bodes well, for innovation in creation and presentation.

Of course, I know that many of us, audience and artists alike, would like to be back in concert halls and theatres – not just for the better acoustics and comfortable seats - but also to imbibe and appreciate art, in the company of fellow arts lovers.

But the fact is, there have been extensive changes in how the arts is created and consumed and that is unlikely to change. For instance, over the past year, Singaporeans could sit in the comfort of our own living rooms, and access virtual tours of the Louvre Museum collection in Paris and also stream National Theatre performances. Our own arts groups were quick to adapt in reaching out and engaging new fans online – we could watch Nam Hwa Chinese Opera on Facebook, catch livestreams of Esplanade's programmes, and listen to the Singapore Symphony Orchestra on Spotify. The stage might not always be just that platform in front of you now. And many of us would have tuned in to Jeremy Monteiro’s ad-hoc evening concerts, which he always puts up to such great aplomb!

These shifts and changes are here to stay.

So we have to be adaptive, innovative and opportunistic to harness the upsides in the digitalisation of the arts and international platforms, for artists to share and grow their works.

We are likely to see more collaborative, inclusive co-creation among artists, partners and the community, and new forms of presentation that transcend dedicated arts spaces. We will actively look into and study these new trends, to prepare the arts and culture sector for the future.

Earlier this year, my colleague, Minister of State Low Yen Ling announced that we will work on an Arts and Culture Digital Roadmap to guide arts and culture organisations in their own digitalisation journey. I am pleased to say that this Roadmap will be available in the coming months, and I encourage you to look out for it.

Conclusion

Let me now conclude. The NAC, the arts community, and various other stakeholders who are deeply invested in the success of the arts in Singapore will have our work cut out for us over the next few years. We have to navigate this inflection point with care, but at the same time, we must have a clear eye on our vision and direction.

But we have had firm foundations, on which to build our arts ecosystem.

We have been able to stand on the shoulders of those who have come before us. The bright and evolving arts scene we have today, is the product and culmination of many years of hard work, prescient vision and unshakeable conviction of the many arts stalwarts. Each of you have left an indelible mark on the face of the arts in Singapore. And built it up to what we have today. This is a legacy we have inherited, and one which we must continue to steward.

So, in closing, let me express my heartfelt appreciation to 30 years of past and present NAC Chairmen, Council Members, management and staff of NAC, for your single-minded, unstinting drive to make Singapore a global city for the arts, and making the arts an integral part of Singaporeans’ lives.

I also thank the arts community for being on this journey with us, for your dedication to the pursuit of artistic excellence, pushing boundaries and challenging assumptions in a way that benefits Singapore and our society.

Your efforts have culminated in the vibrancy of our scene today as you showcase your talent, amaze audiences, and fly our flag high at international festivals and biennales. We are extremely proud of you.

And to our Patrons of the Arts, whom we have gathered here today to celebrate, thank you for your continued generosity and support for the arts in Singapore.

Thank you.