Strengthening Singapore's unique identity through Arts and Heritage

1. Good afternoon to all of you. I want to start by thanking all of you for making time to be with us today – many industry experts, our friends from the arts, culture, and heritage sectors, practitioners, leaders.

2. Over the last few months, I've met many of you, in different groups. We exchanged frank views, and we shared our perspectives on what it would take for us to move forward. I was very grateful for the suggestions and constructive comments that you've given us. And it has helped shape our thinking about what next steps we want to put in place as we move our arts and heritage ecosystem further forward.

3. At Budget earlier this week on Tuesday, there were two big moves on the arts: PM announced that we will be introducing the SG Culture Pass, and will be topping up the Cultural Matching Fund (CMF) with another S$100M.

4. This afternoon, I will share more details on the SG Culture Pass – what exactly is the SG Culture Pass; what will it cover; why introduce the SG Culture Pass; and share some other details.

5. But I thought before I do that, let me first start with a few broader observations on our arts and heritage landscape, and also outline for you a few of our immediate initiatives.

6. Over the last 60 years, we have built up a very strong national identity, one which reflects our cultural and religious diversity.

7. We are proud to call ourselves Singaporeans, and we celebrate our special, very uniquely Singaporean culture. As a still young country, our identity will no doubt continue to evolve.

8. And our arts, culture and heritage will lie at the centre and at the core of this evolving identity. They embody and express who we are. It shapes our common identity – how we project ourselves to the rest of the world, and how we want the rest of the world to see us.

9. And in all of this - the arts and heritage will be critical and essential to Singapore's continued development as a nation.

10. Today, we have a vibrant and diverse ecosystem of arts and heritage organisations and institutions delivering quality, distinctive, as well as innovative experiences.

11. With high quality, creative and dedicated practitioners, including many of you in this room. Personally, I think we have creatives who are as good as any anywhere else in the world.

12. A growing number of our artists have also gained international acclaim overseas:

• The Singapore Ballet was in Washington DC last June where they performed the works of Goh Choo San at the Kennedy Centre to international acclaim from a big audience.

• The Singapore Symphony Orchestra was recently in Australia.

• The Singapore Chinese Orchestra in China.

• Robert Zhao was at the Venice Biennale last year.

• We had designers at Milan Design Week.

• We have world class curators at the Tate Modern.

• Nathania Ong who has been wowing the audience on the West End and in Singapore and beyond.

• Andrew Gn, he works out of Paris, and is very well known internationally. He will be exhibiting in Boston later this year, the first retrospective of a Singapore designer overseas.

13. And we will work hard to give as many of our practitioners as possible an international platform for them to shine. For them to make the world know who Singaporeans are, where we come from, and what our arts, culture and heritage means to the world.

14. Our unique heritage has also been recognised internationally. The kebaya and hawker culture were inscribed on the UNESCO representative list of the intangible cultural heritage of humanity.

15. All of this, and more – it is a testament to the depths of our talent and the high quality of arts and culture in Singapore. But we also know that successes did not come overnight – they were built on multi-faceted foundations laid over many years.

16. First, and most importantly, the sheer determination of each of our arts and heritage practitioners – pushing the envelope, developing and progressing their art form.

17. I remember very distinctly Meena Bhaskar, amongst others, sharing with me how they have persisted over the years. Despite challenges, despite uncertainties, to want to practise their art, hone their craft.

18. And for those involved in heritage, to actively protect and steward our treasured heritage and culture, so that it continues for many generations to come. These are all very important aspects of building a strong arts, culture and heritage ecosystem in Singapore.

19. I am very grateful to the many practitioners, like Meena and many of you here, who have persevered. You have been instrumental in shaping the arts, culture and heritage landscape in Singapore.

20. Second, over the years, the Government has endeavoured to partner with you in this growth. To support the development of our local arts and heritage sector with a good arts infrastructure and programme, developing as much talent as possible.

21. And perhaps also more importantly, retaining as much talent as possible.

22. We have also committed to greater spending, as our arts, culture and heritage flourished. Our per-capita spending on the arts and heritage has increased by four-fold between 2005 and 2023. These resources are spent strategically to lift the entire sector with a view to permanently shifting the baseline upwards.

23. Let me quickly touch on some of the key areas that are on our immediate horizon.

24. First, we are taking steps to help our arts and cultural practitioners develop deep skills and talents and that's very important for us.

25. In the past years, we have built pathways for structured development of talent through the establishment of first, SOTA, and then more recently UAS. This is because we recognise the importance of having strong arts institutions that can nurture and develop our creative talents. To give them the skills, but perhaps more importantly, also give them opportunities to pursue their aspirations.

26. Therefore, we plan to expand the scholarships that we offer so that we can continue to meet the aspirations of a new generation of Singaporeans who are interested in a career in the arts, to give more people this opportunity to pursue the arts full-time, and help them realise their potential.

27. We will therefore provide more scholarship opportunities for pre-tertiary and diploma students enrolled in SOTA, in NAFA and in LASALLE, as well as boost funding for the NAC Arts Scholarships to support more undergraduates and graduates.

28. We will announce more details of this later this year.

29. Second, we will continue to build a strong value economy, around the arts. As I said, I want our arts talents to go into the creative economy, and stay in the creative economy.

30. Therefore, we are strengthening the on-the-job training and education by scaling up workplace-based training programmes, such as arts apprenticeships and train-and-attach programmes in the arts with a focus on in-demand and emerging jobs and skills. These workplace-based training opportunities will enhance the experience of our talents in acquiring relevant practical skillsets, and also attaining valuable work experience, not just academically, but being out there in practice, in the space, learning, honing their craft day-to-day.

31. Third, we have to recognise that technology is and will continue to be a great disruptor for the arts and heritage. But at the same time, it can also be a novel if not key enabler for all of us. It can open up new possibilities, allow us to present differently, and engage audiences differently.

32. Many of our artists, our practitioners, are very keen on new technologies. We will facilitate this by providing more learning opportunities, piloting projects, and providing resources to develop tech in the arts.

33. One example – in our latest Our SG Arts Plan, NAC launched Project Arts Metaverse, an Alliance-for-Action to partner and co-create new arts experiences in virtual spaces with our stakeholders.

34. Project Arts Metaverse will pilot projects for youth engagement as well as audience development in virtual spaces, and this can provide useful lessons not in this limited space but for the whole sector.

35. Fourth, we will have to be innovative, inventive and adaptive when it comes to developing spaces for the arts. We know as well as you do how important arts venues are. But land in Singapore is also limited. Whether it is in healthcare, sports, industry, or even housing – all these sectors face competing space constraints.

36. The arts and heritage sector is no exception. But let me assure you that we recognise the challenges that you face, and this is something that the Government is working actively on.

37. We will, as the Government, continue to play the role of convenor and catalyst to help to unlock spaces to incubate the arts and heritage, including activating new spaces for experimentation such as at Kampong Java especially for emerging organisations and artists.

38. We also partner with our development agencies in the government such as URA, to find new spaces, amidst the old, for the arts. For example, through the Community / Sports Facilities Scheme, or CSFS, and the Strategic Development Incentive Scheme. These schemes bring together resources from the private sector and funding of the private sector, with the creative energy of the arts organisations to create high quality arts spaces in prime locations.

39. We are currently working on some possibilities, and will announce them when appropriate.

40. Finally, as part of Our SG Arts Plan (2023 – 2027), we have just initiated a comprehensive review and a research study on arts spaces needs for the future. The study will provide ideas on what new arts infrastructure is needed and how they should be developed.

41. We will take onboard your views and work with you on this. But we are prepared to look at this comprehensively and reimagine what we might need, how we might deploy them, and what we can do to open more arts venues for all of us.

42. Fifth, the Government will continue to support the arts and heritage with funding. And again, like venues, we know that funding is a key enabler. As I have explained, we have almost quadrupled our per capita spending on the arts over the last 2 decades. And so, we will not shy away from committing sufficient resources to strategically develop the arts in Singapore.

43. At this Budget, we also topped up the CMF. The CMF now stands at about S$600M, which we have been disbursing over the years.

44. The CMF encourages support of the arts through philanthropy. In some ways what we do with the CMF is that we let the audience decide which arts company has got good governance, which has got strong donor relations, and which ones have good artistic offerings. They choose, and we match.

45. Sixth, we have not forgotten the heritage businesses, and we will be doing more to support them. Many of these businesses operate out of a deep passion and commitment to protecting and stewarding our history, our legacy and our heritage, and I think we all agree that this is important for many of us. We will only miss it when we lose it, so let's not lose it.

46. The work that they do preserves a key part of what makes Singapore special and unique. But we also appreciate that there are challenges. And so, we will do more to help all of you in this business sustain the business, continue to operate, grow, and develop.

47. MND and MCCY have worked on some measures to help heritage businesses, and later today, my colleague, Minister Desmond Lee, will announce some measures to better support heritage businesses, particularly those in our historic districts. He will be doing so at the Kampong Glam Ramadan Bazaar and will make some announcements on this. So please look out for them! I won't spoil the fun by telling you here what they are.

48. Finally, let me speak about audience development, and why we have decided on the SG Culture Pass.

49. As I have outlined above, I believe we already have a good quality, vibrant, high value arts ecosystem in Singapore – one that represents us, is diverse, as multicultural and multiethnic as we are in Singapore, which speaks to us in different ways, appeals to us in different ways. And we are doing more to nurture our creative talents, and help them push the boundaries to perform, to exhibit, and to excel.

50. But I think also that every mature arts jurisdiction needs a good, stable base of support from its own local domestic audience. Nelson Chia, Artistic Director at Nine Years Theatre, encapsulated the challenge very well. He summarised the issue as one of value – how do we get Singaporeans to see the value of local arts and culture, and be interested to attend local arts and culture events. And I think he is right.

51. Beyond that, is also the question of interest – how do we spark and cultivate interest, and then sustain a deep passion and following for the arts, so as to inculcate a lifelong habit of attending the arts and heritage events from a young age.

52. We have been thinking about these questions for some time.

53. Over the years, we have put in place many structured programmes for primary and secondary school students, such as the Arts Education Programme and Artist-in-School Scheme.

54. We are now looking at taking these opportunities further upstream – we will put all Government-supported preschools onto the Arts Education Programme.

55. This will reinforce our efforts to build audience following from a young age – expose them early, give them an opportunity to try out, see for themselves. They might not know much at that age, but it will hopefully leave an impression. And hopefully years later, impression would turn into passion.

56. Together with the Ministry of Education, we have also introduced Museum-Based Learning and Performing Arts-Based Learning to schools. By 2027, we will aim to reach 100% of ECDA-supported preschools through the Arts Education Programme, and 100% of lower secondary cohort in MOE schools through Performing Arts-Based Learning.

57. Our aim in doing so is, as I have said, for young Singaporeans to appreciate and see the value of arts and heritage from an early age, and actively cultivate a habit to support our practitioners.

58. Last year, we also launched ArtsEverywhere@CDC to bring high quality performances by professional groups to our residents right in the heartlands. I attended some of the sessions, and it was good to see how Singaporeans came together quite casually at these events, in their own neighbourhoods, to take part, enjoy and bond over arts performances. I think arts is for everyone in every space.

59. With this in mind, we want to further expand the opportunities for Singaporeans to get to know their own local artists, from across a wider and broader spectrum of different art forms. We will therefore move beyond performing arts and bring more visual arts, such as murals, sculptures and installations, right into our public spaces where we live, work and play.

60. We will launch a new public art programme and bring even more public art and programmes into various locations around Singapore, including many familiar heartland neighbourhood locations. This way, we can build up the exposure of our local population to the breadth and quality of arts in Singapore, and at the same time integrate arts into their daily lives. You don't have to go out of your way to see the arts to appreciate it; it's part of where you live and work. We will provide more details on this plan when we are ready.

61. We are also stepping up cross-sector collaborations to bring arts and heritage into new areas.

62. One example – in recent years, there has been an increase in focus on the positive impact of arts and heritage on wellbeing and health. I think all of us in this room who are in this space know intuitively that there is a very strong and deep connection. This programme allows the arts to impact a broader audience. It will also allow us to impact audiences in tangible and therapeutic ways.

63. To further develop this area, NAC, in partnership with SingHealth Community Hospitals (SCH) and Agency for Integrated Care (AIC), will commence a research study on the impact of arts programmes for wellbeing. NHB is also working with partners such as Duke-NUS and Alexandra Health to study and promote well-being through heritage programmes and institutions like the museums.

64. These measures help us to inculcate a stronger interest in the arts amongst a greater number in our population. This is also one of the ways we can break down the silos that might exist between the different genres and domains, be a part of the growth of the wider economy and develop new audiences.

65. So, we've done quite a bit to promote audiences, grow audience participation, cut across different domains. But even with all this, I think we can do more – and the SG Culture Pass is designed to give audience participation a bigger push.

66. First, let me explain why we have decided to introduce the SG Culture Pass.

67. For starters, we want to encourage more Singaporeans to attend our local arts, culture and heritage programmes. They can gain exposure to different genres of artforms, of their own choice and that's important. They decide how they spend their resources. This, in turn, lower the barriers to accessibility. And in turn, we hope it catalyses an interest; develop, in as many Singaporeans as possible, a lifelong interest in the arts and heritage, whilst at the same time, strengthening support for all of us here – our local practitioners in the arts, culture, and heritage space. That, ultimately, is the raison d'etre behind the SG Culture Pass.

68. And I believe the SG Culture Pass will be a significant driver that will bring us closer to this ambition.

69. Let me reiterate some of the details. In September 2025, all Singapore Citizens aged 18 years and above as of 2025 will receive S$100 in credits. This will be applied to offset the purchase of tickets to local arts and heritage offerings, and the credits will be available for use and valid until December 2028. These credits can be used on a variety of local programmes, including performances, exhibitions, immersive experiences such as learning tours as well as participatory workshops.

70. There will be three defining features of this SG Culture Pass. First, the SG Culture Pass will be a population-wide programme for all Singapore Citizens aged 18 and above. The credits can be used on a variety of programmes that will cater to different demographics and different interests. Through this programme, approximately S$300M will be made available to Singaporeans to choose the programmes they wish to enjoy, over the next 3 years.

71. Second, the SG Culture Pass will be used exclusively for local arts and heritage programmes. Local arts and heritage programmes simply mean those that are primarily conceptualised, created, produced and presented by locals. This is really the heart of the programme, the raison d'etre of the programme. We want a local audience to support our local practitioners. That's how we've scoped the policy design of this programme. We want to encourage not just attendance, but interest and a strong affinity in our local arts and heritage practitioners.

72. Finally, the SG Culture Pass will focus on in-person experiences, such as performances, exhibitions and workshops across the arts and heritage sectors. These activities create opportunities for Singaporeans of all demographics to come together, to build a community in person, around the love for the arts and an appreciation for their heritage.

73. We will make it easily accessible, where eligible offerings will be pulled together on a single website to make it easy for Singaporeans to browse and select the programmes to attend. We've had some feedback in our sessions, about how it's not quite easy to identify local programmes, where do we find them; now that we have the SG Culture Pass, how do we know which ones we can use the SG Culture Pass for.

74. We have taken all this on board, so we'll be developing a site where all of the information will be consolidated. You will be able to see all the offerings that will be at hand, and you can then use the same site to access ticketing as well as apply your SG Culture Pass. This will help to also publicise local programmes.

75. We will be introducing eligible offerings progressively, over time. We are currently finalising the details and will share the guidelines for the programmes' eligibility criteria and other details shortly. We expect that by March, we will open up the application process for programmes.

76. Overall, this SG Culture Pass will make local arts and heritage more accessible to more Singaporeans. That's the intent. For those who have never been to a cultural event, performance or exhibition, this now becomes an opportunity to be introduced to our rich offerings. And, who knows, after the first taste, some will come back for more.

77. And with enough Singaporeans getting a positive experience from what they see, we hope to build and over time maintain a keen interest in our local arts and heritage.

78. This is also an opportunity for our own local arts and heritage practitioners to compete for and find ways to reach new audiences, especially to reach out to those who have not engaged with local arts and heritage before – newcomers; to think about how you can appeal to these new audiences.

79. We will have, as I said, about $300M in SG Culture Pass value over the next 3 years. So, I encourage all of you: take up this challenge. Put up compelling offerings to attract new audiences. Find different ways of using the SG Culture Pass to attract, reach out and to retain new audiences.

80. This programme, as I said, will run for 3 years. This will give practitioners enough time to plan and organise the offerings to take advantage of the SG Culture Pass. It applies to the arts, it applies to heritage, but there's no reason why it can't apply to a collaboration between the arts and heritage as well. So, think out of the box, be different, and think collaboratively as well.

81. At the same time, I want to stress that the significance of the SG Culture Pass goes beyond the dollar value alone. I see it as a catalyst that can help shift mindsets towards favouring local arts and culture offerings, allowing us to appreciate local content more, and don't always have to say we will pay well for foreign content but not so well for local content. We want to break this mould and change this mindset.

82. And it also allows us to more deeply, and maybe over time also emotionally, connect with the Singaporean cultural practitioners – all of you. I think this can be a big driver of change, as we look at taking our entire arts and heritage industry to new heights.

83. Before I conclude, I want to acknowledge the various contributors who gave us ideas, and some who talked to us for some time about the concept of an SG Culture Pass. Mr Terence Ho, when he was NMP, made his first maiden speech on the Culture Pass. And we used many of the ideas from Mr Ho's speech. Many others had ideas which were similar in concept.

84. We took onboard these suggestions, studied them carefully; we refined them, we thought about how they should be designed – as I said, what's the raison d'etre behind it; we thought about how it would be best implemented, how to scope it, and then we announced it at Budget a few days ago.

85. The SG Culture Pass is really a culmination of all of these engagements, all of these ideas, and many of these efforts, which have been very constructive.

86. And this illustrates that there is really much that we can do when we come together, come forward, be constructive, be open, be frank, and have a constructive dialogue between the various segments in the arts and heritage space. I have certainly benefited from many of these sessions. And I think I hold up the SG Culture Pass as one example of the fruits of all that labour and constructive dialogue.

87. I am grateful to all who have contributed, and my colleagues and I look forward to working further with all of you, to take further steps to uplift arts and culture and heritage in Singapore.

88. When I met some of you in our sessions over the last few months, I either started or I ended the session by asking you to think about what Singapore should do, and where Singapore arts should be, in 15, 20, 30 or 50 years.

89. I know we have an arts plan every five years, just like we do for many other plans. But sometimes we need to ask ourselves: What is that moonshot? What is that ambitious, almost unimaginable step that we should take? And what do we do now in order to get there, in 15, 20 or 30 years? How do we think big? Aim for the moon, and maybe we can fall on the stars?

90. We don't have all the answers – yet. We will get there.

91. But I think this experience has shown us that if we can come together, we work with one another. We support one another. We collaborate between different art forms, different companies, different genres, and think out of the box. And be prepared to embrace the unknown and try.

92. I am quite sure that the best years of Singapore's arts and heritage and culture will lie ahead of us with all of our collaboration.

93. Thank you very much!