Renaissance City Plan III - National Arts Council, Singapore

Renaissance City Plan III

Ren

ais

san

ce C

ity Pla

n III

© Copyright 2008, Ministry of Information, Communications and the Arts

No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the publisher. All rights reserved.

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ISBN: 978-981-08-1696-4

Published ByMinistry of Information, Communications and the Arts140 Hill Street, #02-02 MICA Building Singapore 179369Tel: (65) 6270 7988Fax: (65) 6837 9480Website: http://www.mica.gov.sg

Editorial TeamArts and Heritage Development DivisionMinistry of Information, Communications and the Arts

Printed and bound in Singapore.

Designed and produced by SiliconPlus Communications Pte Ltd

First Edition 2008

CONTENTS

ForEWorD by MinistEr oF inForMAtion, 3CoMMUniCAtions AnD tHE Arts

1 FroM PAst to PrEsEnt 5

• TheBeginningsoftheRenaissanceCityPlan

• AReviewofRCPIandII

• Challenges,OpportunitiesandFeedback

2 rEnAissAnCE City PlAn iii — 17 The Next Stage

• Singaporein2015

• StrategicDirections

I. DistinctiveContent

II.DynamicEcosystem

III.EngagedCommunity

3 ConClUsion 35

• ANewChapterofGrowth

AnnEXEs

A — KeyCulturalStatistics 37

B—SummaryofStudiesConducted 43

C—ListofPriorityArtsandHeritageBusiness, 47 TechnicalandAppliedCapabilities

D—CurrentGovernmentIncentiveSchemesto 48 SupportPrivateGivingtoArtsandCulture

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INTroducTIoNRenaissanceCityPlanIII

Malayan Scenery, Chen Wen Hsi, Ink & colour on paper, 142.3 x 93.4 cmSingapore Art Museum Collection

Twenty years ago, the Governmentinitiated theAdvisoryCouncil forCultureand the Arts (ACCA). The belief thenwas that arts and culture were integralindevelopingaculturally vibrant society,givingSingaporeauniquenationalidentityandproviding thesocialbond thatholdsourpeopletogether.

Twentyyearslater,thisbeliefstillstands.Much has been achieved since butthe circumstances have also changedsignificantly. With increasing globalcompetition and the rise of China andIndia,artsandculturenowplayanevengreater role in distinguishing Singaporecompellinglyfromothercitiesintheregion. The vitality and liveability of our city arecritical factors in enabling Singapore tocontinuetoattracttalent,investmentandinternationalattention.

Atthesametime,theSingaporeansocietyisalsomaturing.YoungandoldalikeareactivelyseekingahigherqualityoflifeandadeepermeaningtobeingSingaporean.Appreciation of the arts and culture has

grown, with 1 in 3 Singaporeans nowattendingartseventscomparedto1in10in1995.Withanincreasinglysophisticatedand diverse population base, there is aneedtoofferagreatervarietyofculturaloptionstoengage,educateandentertain.

It is in this context that the planning forRenaissance City Plan III (RCP III) wasinitiated. RCP had already seen twophases–RCPI from2000to2004andRCPIIfrom2005to2007.Buildingontherecommendations of the ACCA Report,RCPIandIIdeliveredtremendousresults,raisingartsactivities,artsaudiencesandmuseum visitorship significantly since1999,beforeRCPwasintroduced.

RCPIIIrepresentstheculminationoftwoyearsofpublicconsultationandstrategicplanning. This report outlines the vision,strategicdirectionsandkeyinitiativesthattheMinistryofInformation,Communicationsand the Arts (MICA), the National ArtsCouncil(NAC)andtheNationalHeritageBoard(NHB)shallundertakefrom2008to2015.NACandNHB’saccompanyingArts Development Plan and HeritageDevelopmentPlanwillprovidedetailsontheinitiativesthattranslatethestrategiesintospecificactionplans.

MICA,NAC andNHB cannot undertakethisjourneyalone.Forthevisiontobecomea reality, we will require the partnershipandsupportofprivatecorporations,civicorganisations, andmost importantly, ourcitizensandresidents.Iinviteyoutojoinusasweembarkonthenextexcitingchapterof Singapore’s development towards aGlobalCityforCultureandtheArts.

DrLeeBoonYangMinisterforInformation,

CommunicationsandtheArts

FOREWORD BY MINISTER OF INFORMATION, COMMUNICATIONS AND THE ARTS

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Just Dharma by Jason Lim, 52nd Venice Biennale © National Arts Council

tHE bEginnings oF tHE rEnAissAnCE City PlAn

the Advisory Council on Culture and the ArtsIn1989,theAdvisoryCouncilonCultureand the Arts (ACCA), chaired by thenSecond Deputy Prime Minister, Dr OngTeng Cheong, was formed to study therole that arts and culture could play in Singapore’s national development.The Report of the ACCA articulated theimportanceofcultureandthearts,notingthatthey:

a) enrichusaspersons;

b)enhanceourqualityoflife;

c) helpusinnation-building;and

d)contributetothetouristand entertainmentsectors.1

FROM PAST TO PRESENT

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The Repor t made far- reachingrecommendations for medium-term artsand cultural development, includingsuggestionsfor:

• enhancingartseducationattertiary andpre-tertiarylevels;

• improvingculturalfacilities;

• boostingheritageandvisual artscollections;

• encouragingreadingandwriting;and

• steppingupartspromotionbythe mediaamongthecommunity.

It established what would becomethe National Arts Council (NAC), theNationalHeritageBoard (NHB) and theNational Library Board (NLB), as wellascalled for thedevelopmentof a “finearts gallery in the former St Joseph’sInstitution”, a “history of Singaporemuseum”, a “Southeast Asian/naturalhistory/ethnology museum”, a “modernNational Library on Queen Street” anda“newperformingartscentreatMarinaCentre”2.

the renaissance City ProjectTen years later, following the implementation of most of therecommendations from The Report of the ACCA, a second comprehensivereview was undertaken to explore therole of arts and culture in preparing

1 Source: The Report of the Advisory Committee for Culture and the Arts, 1989. 2 These eventually became the Singapore Art Museum, the Singapore History Museum (now reinstated as the National Museum), the Asian civilisations Museum, the National Library, and the Esplanade: Theatres on the Bay.

Opening Festival of the National Museum of Singapore (NM) © National Heritage Board

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RenaissanceCityPlanIII

3 The Asian Arts Mart is a performing arts fair bringing together impresarios, performing arts groups and theatre/venue operators from around the region together to share ideas and book engagements. 4 The creative Industries development Strategy outlined road maps for developing three sectors: 1) arts and culture 2) design; and 3) media.5 MIdEM, or Marché international de l’édition musicale, is an annual international music industry trade fair that takes place in cannes.

Singaporefortheleapfromanindustrialto a knowledge economy in the 21st century. The Government recognisedthat while The Report of the ACCA provided the necessary foundation forworld-class arts and cultural institutionsinSingapore,Singaporeneededtoinvestfurtherinartsandculturalcapabilitiesinordertoenhanceinnovativecapacityandmeasure up against other regional andglobalcities.

Thus, in1999,Cabinet approveda five-year Renaissance City Project (RCP I),injecting an additional $10 million peryeartowardsNACandNHB’soperationalbudgets to strengthen the developmentof Singapore’s cultural “software” –capabilities,audiencesandvibrancy.

TheRCPvisionwastotransformSingaporeinto a Distinctive global City for the Arts,whereartsandculturewouldmakeSingaporeanattractiveplacetowork,liveand play, contribute to the knowledgeand learning of every Singaporean, andprovideculturalballastfornation-buildingefforts. Building on The Report of the ACCA,RCP’sstrategiesweretomakefulluseofourculturalinfrastructureto:

a) enhanceoverallvibrancyofSingapore’s artsandculturalscene;

b)buildtheaudiencebase;

c)professionalise a pool of local arts talentandartscompanies;and

d)raisetheprofileofSingaporeasan artshub.

Inthatlight,RCPI’skeyrecommendationsincluded:

• providing one- and two-year grantsto major arts companies, projectgrants for artists and arts groups, aswell as training grants, scholarshipsandbursaries;

• launching arts and heritage outreachandeducationprogrammes;

• enhancing major festivals such asthe Asian Arts Mart organised bytheEsplanade3.

In 2005, Renaissance City 2.0 (RCP II) was introduced as part of a broaderCreativeIndustriesDevelopmentStrategy,and articulated an industry approach fordevelopingartsandculture4.RCPIIraisedfunding to$12millionper year in2005-2006and$15.5millionin2007.InadditiontoRCPI’sobjectives,RCPIIaimedto:

a)develop new ar ts and culturalindustrycapabilities;

b)build more ar ts /culture-businesspartnerships;and

c)internationaliseSingaporearts.

RCPIIintroduced:

• Tracking the contribution of arts andculturetotheeconomyintermsoftotalvalueaddedandemployment;

• Limited assistance schemes and incentives for commercial arts projects;

• Singapore’s participation at artsmarketsandeventssuchastheVeniceBiennale, MIDEM5 and the FrankfurtBookFair;

• Majorartsevents tomarketSingaporeholistically to the world, namely theinauguralSingaporeSeasoninLondon,andtheSingaporeBiennale,coincidingwith the 2006 International MonetaryFund and World Bank Meetingheldhere.

froM pAST To prESENT

GASEAN Museum Directors’ Symposium, Asian Civilisations Museum © National Heritage Board

CClickArt 2003, photo by Sam Tham Lai Yong

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6 The average annual recurrent funding for arts and culture from 2003-2007 was about $114 million, including operating budgets for NAc, NHB, as well as operating grants for the Esplanade, the Singapore Symphony orchestra and the Singapore chinese orchestra (See Annex A). rcp I and II funds went significantly towards support schemes for artists and arts groups in the case of NAc, and augmented programming and outreach efforts in the case of NHB. More importantly, rcp I and II focused MIcA and both agencies’ directions towards a common vision and strategies.

7 In June 2007, the Monocle Quality of Life Survey of “Liveable cities” ranked Singapore 17th, only the 3rd Asian city after Tokyo (No. 3) and Kyoto (No. 14). Whilst the survey lauded Singapore’s first-world standard of living, Singapore’s X-factor was cited as her “newly blossoming cultural landscape”. In the second Monocle Quality of Life Survey in 2008, Singapore was ranked 22nd.

A rEviEW oF rCP i AnD ii While funding invested by RCP I and IImade up only a small proportion of allfundingtowardsartsandculture,theRCPvision and strategieshave guidedMICA,NACandNHB’stotaleffortsindevelopingtheartsandculturalscene6.

RCP I and II have impacted Singapore’sarts and cultural development in fourkeyareas:

• InternationalRecognitionforSingaporeArtsandCulture

“Three decades ago, the economically flourishing state had been labelled a barren wasteland in terms of arts and culture. This year’s arts fest, which ends on 22 June, includes more than 1,800 artists from 27 countries and two world premieres. To date, 20 local commissions and co-productions have been seen by audiences in over 30 cities around the world, including New York, London and Paris.”

“Is Singapore’s Arts scene

poised to bloom?”, ReutersNewswire,17June2008.

“Nanny state? Hardly. Once notorious for government control, the city-state is getting competitive, creative, even funky.”

“Singapore’Lightens up”,

CoverStory, Time, 19 July 1999.

“Singapore’s landscape is blossoming, with talented local architects making their mark alongside international stars such as Toyo Ito, Moshe Safdie and Kohn Pedersen Fox; and the arts scene has seen a flowering of museums, performing arts venues and galleries.

It’s still conservative but this city-state is enjoying a cultural boom.” 7

“#17:Singapore’snewlyblossoming

culturallandscape” International Herald Tribune –

Monocle Magazine,19June2007

Stravinsky Dances by Singapore Dance Theatre, Singapore Arts Festival 2005 © National Arts Council


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Singaporehasbeen transformed froma “barren wasteland” into an excitingand culturally lively destination.It is recognised as one of the mostliveablecitiesininternationalrankings,thanks inpart to itsnewlyblossomingcultural landscape. Two decades ofarts and cultural development haveproduced institutions, exhibitionsandperformanceswhichfeatureprominentlyin international media, with regularcoverage in publications such as theInternational Herald TribuneandTime.

Key cultural institutions such as theiconicEsplanade,theAsianCivilisationsMuseum, the Singapore ArtMuseum,the National Museum, and the Singapore Tyler Print Institute attractmajorinternationaltalent,organisationsand acts to create, premiere,perform and exhibit in Singapore.8 Theseinclude:

• Popular Broadway and West End musicals such as The Phantom of the Opera, Miss Saigon, Mamma Mia!, Rent and Avenue Q ;

•Major performing arts companiessuch as the Royal ShakespeareCompany, the National Theatre ofBeijingandtheViennaBoysChoir;

• WorksbymodernandcontemporaryartistssuchasZengFanzhi,AlbertoGiacometti,XuBeihong,Affandi,andevenPicassoandMonet9;

• Blockbuster showcases of historicalartefacts from renownedmuseums,includingreligioustreasuresfromtheVaticanMuseum,Greekmasterpiecesfrom the Louvre Museum andOttomanartefacts from theTopkapiPalaceMuseuminIstanbul.

8 These institutions have quickly established an international reputation for their high standards and capabilities, as well as their ability to transact between the diverse Asian, especially Southeast Asian cultures, and those of Europe and the Americas.9 The Singapore Tyler print Institute featured an exhibition of picasso’s Vollard Suite prints in 2007, and an exhibition of Monet’s drawings in 2008.

• Amorevibrantartsandculturalscene

RCP I and II have contributed to thedevelopment and increased vibrancyof our arts and cultural scene. A keyoutcome was the development of apool of artistic talent in Singapore,particularly in the field of performingarts (theatre companies, orchestras,music talents, dance companies).From1996to2007,thenumberofartscompaniesandsocietiesdoubledfrom400to800.

Among them,acoreofmore than20majorperformingartscompanieshavedeveloped professional managementand marketing capabilities, createdoriginalartisticworks,collaboratedwithleading international groups, nurturedartistictalents,andcultivatedagrowingaudienceforthearts.

RCP has also allowed the nationalmuseumsundertheNationalHeritageBoard(NHB)toorganiseandcollaboratewith overseas institutions for a varietyofhigh-profile,blockbusterexhibitions.

Major ar ts events have raisedSingapore’s profile and standing as acentre for artistic exchangewithin theregion, and between the region andthe rest of the world. The SingaporeArtsFestival isregardedasoneofthebestartsfestivalsinAsiaandregularlyattractsaround600,000inattendancetoitsticketedandnon-ticketedevents.TheAsianArtsMarthasresultedinartsgroups,bothlocalandfromtheregion,usingSingaporeasalaunchpadtotherest of the world. Singapore Biennaleand other major forums such as theASEANMuseumDirectors’Symposiumbrought the world to Singapore for aculturalandlearningexchange.

Singapore’sartstalentandorganisationshave received international accolades,and have toured or exhibited theirworks overseas.Noteworthy examplesinclude:

• Major performing arts companiessuch as Theatreworks, The T’angQuartet, The Singapore RepertoryTheatre and The Necessary Stage,who have toured their works toEurope,AmericaandAsia;

• The National Arts Companies –Singapore Symphony Orchestra,Singapore Chinese Orchestra andSingapore Dance Theatre – whohavereceived invitations toperformat prestigious venues overseasand garnered positive internationalreviews;

• Established artists and arts groupssuch as Tan Swie Hian, Han SaiPor, theChineseTheatreCircleandOng Keng Sen, who have receivedinternationalawards for theirartisticachievements;

• Young arts professionals such asHeman Chong, Lee Hwei Min andAnnaPrvacki,whohaveexhibitedandperformed at various contemporaryvisual and performing arts eventsandfestivals.

Kushana BuddhaMathura, Uttar Pradesh, IndiaRed spotted sandstone Collection of the Asian Civilisations Museum


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10 Note that this measures only performing arts events and visual arts exhibitions. It does not include entertainment, pop/rock, film/media, or other culture/heritage-related events. MIcA is currently taking stock of all the arts, cultural and entertainment events taking place in Singapore and the full picture is likely to substantially increase current figures for vibrancy.

Besidestheirpermanentcollections,themuseumshave featured 13 to 19changing exhibitions each year from2003 to 2007. NHB also introducedmajor outreach events such as theHeritageFestandCommunityHeritageTrails to enhance awareness andunderstanding of Singapore’s historyand heritage, and inject diversity intotheheritageeventslandscape.

Alloftheseendeavourshaveresultedinthenumberofartsactivitiesincreasingbymorethanfourtimes,from6,000ayear in1996 toan impressive27,000a year in 2007. This means thatcomparedtojust16artsactivitiesaday10yearsago,therearenowmorethan70ticketedandfreeartsactivitiesdailyforSingaporeans,foreignresidentsandvisitors tochoose from10.Outof these70activities,1in5arefromoverseas.

At the macro level, the arts andcultural sector has also grown by anaverageof5.2%a year from1996 to2006, employing more than 20,000professionalsyearlysince2001.

DesiredOutcome indicator 1996 2007

Diverseandvibrantartsandculturalscene*

No.ofperformancesandvisualartsexhibitiondays

6,000 27,000

No.ofartscompaniesandsocieties 400 800

StrongDemandandAudienceBase*

%ofSingaporeanswhoattendedatleast1artseventinthepastyear

1in10 1in3

No.ofticketedartsattendance 750,000 1,500,000

Non-ticketedattendance 990,000(2003)*** 2,700,000

VisitorshiptoNHBmuseums 316,000 1,856,000

Attendanceatheritageoutreachevents

1,500,000(2003)*** 4,400,000

EconomicContribution**

TotalNominalValue-added (S$million) 557 978(2006)

Employment 16,000 21,000(2006)

table 1: Key Arts and Cultural statistics

* Source: National Arts council and National Heritage Board. figures are rounded up. Annex A provides more details on key cultural statistics. ** Source: department of Statistics. Two-year lag in data availability. 2006 figures are preliminary. *** Tracking started from 2003.

Andy’s Wonderland by Vincent Leow, Stainless Steel, 52nd Venice Biennale © National Arts Council


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• IncreasedDemandandAppreciationfortheArtsandCulture

RCPIandIIhavecontributedtowardsdeveloping greater local awarenessof Singapore’s ar ts and culture.NAC’s Population Survey on Arts andCulture showed that currently, 1 in 3Singaporeans participate in at leastoneartsandculturaleventayearascomparedto1in7in1999and1in10in 199511. NHB’s Heritage AwarenessIndex rose by 20% between 2004and 2007, with 90% of Singaporeansagreeing that preserving our heritageis important, and 87% agreeing thatunderstandingSingapore’shistoryandheritagewould strengthen their senseofbelonging.

This deeper appreciation for arts andculturecanbeseenintheincreaseofthe number of performing arts ticketssold;over1millionhasbeensoldeveryyear since 2003, and an impressive

1.5million tickets were sold in 2007.Total ticket sales for 2007 amountedto about $48 million12. Performancesat the Esplanade took in $39 millionin ticket salesand577,000 in ticketedattendance. Similarly, the number ofvisitorstoNHB’smuseumscrossedthe1-millionmarkin2005andreached1.8million in2007.The topfivechangingexhibitions in2007sawanaverageofabout 90,000 visitors each13. About7% of total ticketed attendance andvisitorship numbers is made up byforeignvisitors.

Non-ticketed arts attendance reachedahighof2.7millionin2007,including1.6million attendances reportedbythe Esplanade, reflecting its aim ofbecominganartscentreforeveryone.Attendanceatheritageoutreacheventsalmosttripledfrom1.5millionin2003to about 4.4 million in 2007, withSingaporeHeritageFestaloneattractingmorethan1.4millionparticipants.

11 Source: NAc’s population Survey 2005. The next survey was being conducted as this report went to print. 12 Based on figures from SISTIc and Gatecrash, which account for 52% of all ticket sales. The rest are school, corporate, or organisation-based purchases.13 Neues Bauen International (visitorship: 108,200), Mystery Men: Finds from China’s Lost Age (96,800), Beauty in Asia (90,100), Greek Masterpieces from the Louvre (87,400), the chen Wen Hsi exhibition (88,000).14 SoTA’s curriculum teaches academic subjects through the arts. for example, students learn about physics principles through sculpture, chemistry principles through glazing and pottery and mathematical principles through music.

Thenation’sincreasedappreciationforartistic and creative talent has madeit possible for more specialised artstraining facilities to be established.In recent years, the Yong Siew TohConservatoryofMusic,andtheNanyang TechnologicalUniversity(NTU)SchoolofArt,MediaandDesignweresetupto provide tertiary education in thefieldsofmusic,visualarts,mediaanddesign. Singapore also attracted theestablishmentofanAsiancampusfromthe prestigious New York University(NYU)TischSchooloftheArts.

Singapore’sfirstpre-tertiaryartsschool,School of theArts,Singapore (SOTA),opened its doors in 2008. Enrolmentresponsehasbeenoverwhelming,withcloseto1,000studentscompetingforabout 200 vacancies each academicyear. Its innovative curriculum, basedon the International Baccalaureatesystem and utilising arts as a tool toteach academic subjects, offers acompletelynewparadigmofeducationinSingapore.14

Singapore Chinese Orchestra, Singapore Season 2007 © National Arts Council


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15 Source: Esplanade Visitors and Population Survey, 2004. In 2004 alone, Esplanade received 6 million visitors. over 55% of heartlanders who visited the Esplanade said that it was a popular family destination and the majority of visitors strongly endorsed the Esplanade as a place that they were proud of as Singaporeans. of ticketed attendance at the Esplanade’s performances, Singaporeans made up 77% (60% were HdB dwellers), and of the total attendance at the Esplanade’s regular free performances, 81% (75% were HdB dwellers) were Singaporeans.

16 Total philanthropy and in-kind sponsorship figures for 2008 have not been finalised at the time of print.

• NationalPrideandSenseofOwnership

Singapore’s arts and culture havebecome a source of national pride.Museumsandperformingartscentressuch as the Esplanade are highlypublicised in national marketing andtourism materials. The Esplanade, inparticular, has top-of-mind recall forSingaporeans and attracts more than6million visitors yearly, of which only30%aretourists15.

The people and private sectors arebecoming increasingly involved inpromoting and supporting the arts.More privately organised arts festivalsand events are appearing on thescene, providing greater diversityin the range of cultural offerings inSingapore. Significant ones includethe Mosaic Festival of World Musicby the Esplanade, the hugely popularDim Sum Dollies series of revuesby Dream Academy, the SingaporeTheatre Festival by W!ld Rice, andthe Sun Festival by IMG Artistes. Inthe museum and heritage sector, thestableofmuseumsundertheMuseumRoundtable has grown from 27 in2004 to 46 in 2007, and now coversa diversity of fields from science toChinesecontemporaryartandtoys.

Involvement in arts and culture atthe community level has grown.This is especially evident in schools,Community Development Councils(CDCs) and the People’s Association(PA), where arts and culture is integrated into their programmesand events.Withmore than 130,000 students taking part in arts-relatedco-curricular activities in 2007, theSingapore Youth Festival has becomeamajormilestoneeventforallschools.Similarly,CDCsandPAhaveworkedwith NAC to develop District Arts Festivals(DAFs) that celebrate communityidentity and inject community buzz.At last count, the five DAFs in 2007attractedmorethan140,000residents.

The private sector has shown theirsupport through cash and in-kindsponsorshipaveraging$40millionperannum over 2003-2007. This figuremay grow even further in 2008 withtwo significant donations – a second$25 million donation from the YongLoo Lin Trust to the Yong Siew TohConservatoryofMusic(thefirstwasin2003),anda$12milliondonationfromNgeeAnnKongsitoSOTA16.

Other non-monetary forms of givingsuch as loans, donations of artefactsand co-branding, have also emerged.In2007,thevalueofartefactdonationstoNHBregistered$2.36millionwhileartefactloansregistered$181.4million.This ismore than double the amountin 1999, when artefact donationsregistered $1.19 million and artefact

loansstoodat$79.6million.SignificantrecentdonationsincludedacollectionofpaintingsbyLiuKangtotheSingaporeArt Museum in 2003. In 2008, themuseum received another donationof113paintingsvaluedat$66millionfromtheartistWuGuanzhong.

Co-branding efforts include the M1Fringe Festival with The NecessaryStage, the OCBC Singapore TheatreFestival with W!ld Rice, DBS ArtsCentre with The Singapore RepertoryTheatre and Credit-Suisse’s three-year partnership with the SingaporeArt Museum to showcase SoutheastAsian and Swiss modern andcontemporaryart.

C Power Dressing – Textiles for Rulers and Priests from the Chris Hall Collection, Asian Civilisations Museum © National Heritage Board

B The Arts House. Source: The Straits Times © Singapore Press Holdings. Ltd. Permission required for

reproduction.


Famille rose dish with butterflies and flowering chrysanthemumsJingdezhen, China, Qing dynasty, Yongzheng period Ceramic, Gift of Mr Saiman Ernawan, Collection of the Asian Civilisations Museum

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CHAllEngEs, oPPortUnitiEs AnD FEEDbACK

Facing Challenges RCP I and II built a strong foundationforSingaporeartsandculture.However,keydevelopmentsintheglobalandlocallandscape present new challenges andopportunities tomake the articulation ofnewstrategiesnecessary:

• Increasingcompetitionamongcities worldwide

As cities around the world competefortalent,investmentandwealth,theyrecognisetheimportanceofbalancingastrongbusinessimagewithartsandculture.EmergingcitiesinAsia–Seoul,Hong Kong, Beijing and Abu Dhabi,to namea few –have recognised theimportance of unique cultural contentindevelopingviablecreativeeconomiesand stepped up government supportfor the development of their culturalofferings (see Box 1). EstablishedculturalcitiessuchasParisandLondonarenotstandingstilleither,butarealsocontinuing to look at how they cancompetebetter.

Singapore must respond quickly toremain distinctive and internationallyrelevant.Unlikemanyemergingcities,where cultural institutions have tobe imported and built from scratch,Singaporehas,inthelasttwodecades,invested substantially in buildingup anumberofculturalinstitutionsthathave established themselves as potentialleaders in their respective fields.Singaporeshouldfully leverageontheculturalcapitalbuiltupover theyearsinordernottofallbehindcompetitors.

Asdevelopedanddevelopingcountriesalike transit up the value chain intothe knowledge- and innovation-based economy, there is increasingcompetition among them for creativetalent. Companies worldwide, evenin the “hard” business and technicalprofessions like finance, IT, law and

engineering,areincreasinglylookingfortalentwithstronganalyticalandcriticalthinkingskills,acreativeandinnovativeoutlook,theabilitytomanagecomplexity,aswellastheculturalsensitivitytoworkin a globalised,multi-cultural context.These are skill sets nurtured throughexposure to the arts, humanities andlanguages. For Singaporean talentto compete effectively in the globalmarketplace, there is a need toemphasise on these “softer” subjectsinoureducationsystem.

• Pressurefromsocialandculturaldifferences

By 2015, international talent, foreignworkersandnewcitizenswillmakeupa significant proportion of Singapore’sresident population. There is a needto ensure a good understanding ofSingapore’s heritage and differentcultures so that we can respect,accept, and react sensitively to eachother. Furthermore, a strong artisticrepertorywill helppromotea strongersenseofbelongingandidentityamongcitizens, including Singaporeans whoareoverseas.

Artsandculturewillthereforecontinueto provide a sophisticated means ofbuilding stronger community bonds,promoting greater cross-culturalunderstanding and, in the process,uniting diverse communities. A moresophisticated means of engagingour youth is particularly critical asthey are exposed to global ideas andtrends through travel andnewmedia.Similarly,thereisaneedformoreage-appropriate social-bonding platformsto reach out to senior citizens as ourpopulationages.

Singapore-Scenes-Aerial View-Empress Place Ong Yu Yi, Photo, 19.3cm X 13.4cm, National Museum of Singapore Permanent Collection


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17 The Weinstein company announced in 2007 that it would be setting up a uS$285 million fund for movies that focus on Asia. This was quickly followed by an announcement by acclaimed Indian director Shekhar Kapur of the establishment of a $500 million fund for movies that focus on Asia.

tAPPing oPPortUnitiEs

• BoomingAsianartsandentertainmentsectors

Asian arts, culture and heritage nowhaveagreaterinfluenceontheworld’sculture, lifestyle and entertainmentthan ever before.17 This is evident inthegrowingpresenceofAsiaandAsiancelebritiesinHollywood,aswellasthesoaring prices of Asian contemporaryart at auctions. In 2008, prices fortop pieces of Chinese contemporaryart were going for millions of dollarsat auctions, with prices of Indiancontemporaryartnotfarbehind.Closertohome,Indonesiancontemporaryartare also known to have sold for six-figuresumsatauctions.

Asia’s own arts and entertainmentindustries are alsobooming.Nowhereis this more apparent than in China,wheretheOlympicscatalysedaflurryofmuseum-andtheatre-buildinginmajorcities. The growth in these industriesis likely to increase demand formorecreative professionals and supporting

services. This means increasedopportunities for the artists, culturalinstitutions aswell as professionals inspecialised supporting services andrelatedenterprises.

Singapore’slifestyleandentertainmentsector is similarly undergoing amajortransformation into a new growtharea.WiththeadventoftheIntegratedResorts in 2009, the availability ofluxury properties, the annual FormulaOneraceandtheexplosionofoptionsforfinediningandnightlife,Singaporeisouttore-positionitselfinabigwayasthelifestyledestinationinAsia.

Tosupporttheindustryboom,thereisa need for more unique content andexperiences thatwouldboth entertainaswellasdifferentiateSingaporefromother lifestyle destinations inAsia. There is also a need to build up alocalbaseof talent inspecialisedartsservicessuchasartsandentertainmentmanagement,andtechnicalproductionin order for Singaporeans to benefitfromthejobscreated.

• AmaturingSingaporeanSociety SingaporehascomealongwayfromitshumblebeginningsasasleepyfishingvillageinSoutheastAsia.Singaporeansareincreasinglythinkingbeyondbreadand butter issues and reflecting onissuesof identity,heritageandqualityoflife.Artsandheritagearebecomingpersonal and Singaporeans are moreeagertosharetheirviewsonhowtheyshouldbedeveloped.Indeed,coverageonartsandcultureinthelocalpresshasincreasedsignificantly,anddebatesonarts-related issues in the forumpagesofThe Straits Timesarenolongerrare.

There is also an increased interest ingetting involved in arts and culture.Volunteer groups at the nationalmuseums and at the SingaporeBiennale,forexample,attractsomanywould-bevolunteersthatthemuseumsandBiennaleareabletoputinplaceaverystringentinterviewandassessmentprocess to ensure that they get onlythe most committed and qualifiedcandidates.

Corporations are increasingly takinga stake in developing arts talent,withbig names attaching themselves todevelopmental programmes such asthe HSBC Youth Excellence Initiative,The Business Times Budding ArtistsFund and the Asia Pacific BreweriesFoundationSignatureArtPrizeSeries.Private individuals,whohave investedtheir time and resources to build upcollections of artworks and artefacts,have also stepped forward to sharetheircollectionswiththepublic.

One Voice, One Rhythm, One World – cultural performance at the Opening ceremony of the 117th IOC Session. Source: The Straits Times © Singapore Press Holdings Ltd.Permission required for reproduction.


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SEOUl’S “vISION 2015: CUlTURAl CITY SEOUl”

The Metropolitan Government of Seoul released the“Vision2015,CulturalCitySeoul”Masterplan in2006– a 10-year masterplan to transform Seoul into aculturallyrichcity.TherationalebehindtheplanwastoincreaseSeoul’scompetitivenessbyre-inventingthecitylandscapeanddevelopinghighqualityculture.

The Masterplan made recommendations in five keyareas: a)development of arts and culture; b) beautifyingurban landscapes; c) expanding opportunities for theunderprivilegedtoenjoyartsandculture;d)developmentofcreativeindustries;ande)formationofapeoples’culture.Aspartoftheplan,Seoulplanstobuildmoreperformingartstheatres,toincreasethenumberofartgalleriesfrom25to50,andmuseumsfrom67to150by2015.TheprojectisexpectedtocostUS$7.9billion(S$11.4billion).1

BEIjINg AND SHANgHAI’S BlOSSOMINg MUSEUM SCENE

SparkedoffbytheBeijingOlympics,Chineseauthoritiesannouncedin2006that100newmuseumswouldopenbefore the Olympics, and that by 2015, it planned tohave1,000newmuseumsthroughoutthecountrysuchthateverysignificantcityinChinawouldhaveamodernmuseum.Asof2006,Beijinghad118museums,andisexpectedtohavebuilt30morebytheOlympics.

By2008,theBeijingMunicipalBureauofCulturalRelicswould have received US$72 million to maintain andrenovate historical places of interest across the city. AnotherUS$217million isbeingspent to renovate theChina National Museum in Tiananmen Square. In themeantime,Beijingisplanningothermuseumsonarangeofareaspertainingtothe20thcentury–film,carsandsoon.

Shanghaiisalsogettingintothegame,withanewmuseumof antiquities, aUS$200-million sciencemuseum, andplansforthelargestcontemporaryartmuseuminAsia.Thespace,locatedinthePudongdistrict,willfeaturearangeofgenres,fromcontemporaryarttoexperimentalmusic,dramaandfilm.Itisscheduledtoopenin2009.2

1 Source: Seoul Metropolitan Government website, http://english.seoul.go.kr/today/news/city/1230325_3326.html2 Source: “china’s New cultural revolution”, The Independent (18 September 2007) 3 Source: “West Kowloon cultural district: The Way forward and the West Kowloon cultural district Authority Bill,” http://www.legco.gov.hk/yr07-08/english/bills/ brief/b23_brf.pdf 4 Source: “celebrity Architects reveal a daring cultural Xanadu for the Arab World,” The New York Times, (1 february 2008). cost of the Louvre Abu dhabi project cited from ‘A positive understanding of Islam’. ARTNews (May 2008).

Other Asian Cities’ Plans

HONg KONg’S WEST KOWlOON CUlTURAl DISTRICT

ThevisionoftheWestKowloonCulturalDistrictprojectisto“developanintegratedartsandculturaldistrictwithworld-class arts and cultural facilities, distinguishedtalents, iconic architectures, and quality programmeswithamust-visitappeal to localandoverseasvisitors,capableofmakingHongKonganinternationalculturalmetropolis”. It should also drive the growth of HongKongcreative industriesandenrich thecultural lifeofthelocalcommunity.

Theproject involves the transformation of a 40-hectareindustrialzoneintoaCulturalDistrictby2014.BasedonthesummaryoftheRecommendations of the Consultative Committee on the Core Arts and Cultural Facilities of the West Kowloon Cultural District,theDistrictwouldhave15performingartsvenuesofvarioustypesandsizes,aculturalinstitutionwithmuseumfunctionscalledM+(orMuseumPlus), an exhibition centre, spaces for arts educationandinternationalculturalexchanges,aswellasamixofresidential, commercial and leisure options. Theprojectwillrequireaone-offHK$21.6billionendowment(basedonNetPresentValueat2008)fromtheGovernment.3

ABU DHABI’S SAADIYAT ISlAND CUlTURAl CENTRE

The Middle East has also been making internationalheadlines for its massive investments in culture. AprimeexamplewouldbeAbuDhabi’splans for anewUS$27billionSaadiyatIslandproject(“Saadiyat”means“Happiness”),whichwouldincludeaculturalcentrewithinstitutionsdesignedbythebiggestnamesinarchitectureandart–LouvreAbuDhabibyJeanNouvel,GuggenheimAbu Dhabi by Frank Gehry, Saadiyat Performing ArtsCentre by Zaha Hadid, Maritime Museum by TadaoAndo,andSheikhZayedNationalMuseumbyNormanFoster.Theprojectwouldalsoinvolvebuildingabiennialexhibitionspace,artsschoolsandanartcollege.Inthecase of the Louvre, the building itself reportedly costsUS$520million to build. Over the next 30 years, theAbuDhabiGovernmentwillpayanadditional400millioneurosfortheuseoftheLouvre’snameandforartloansfromitscollections.4


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ConsUltAtions WitH tHE PEoPlE, PrivAtE AnD PUbliC sECtors

Study on the People, Private andPublic sectors by the institute of Policy studies In2006,MICAcommissionedastudybytheInstituteofPolicyStudiestoinvestigatetherolesofthethreesectorsinSingapore,andhoweachofthemcontributestothedevelopmentofartsandculture.

study on the value of Arts and Culture and Public Engagement Strategiesby Professor Lily Kong, NationalUniversityofSingapore(NUS)AsecondstudybyProfessorLilyKongofNUSandcommissionedbyMICAsoughtpublicopiniononthevalueandrelevanceofartsandcultureaswellasstrategiestoincreaseoverallengagement.

Both studies involved consultationsand surveys conducted with artists,arts groups, audiences, communityorganisations, foundations,privatesectorartssponsorsandmanyothers.18

(Detailed extracts from these studies are found in Annex B.)

oUtCoMEs oF tHE stUDiEs

The results of both studies revealedspecific areas where Singapore’s nextphase of arts and cultural developmentcould focus on and develop. Theyinclude:

• Creating and promoting original andhome-grown Singaporean worksthat highlight our diverse and uniqueheritageandtraditions

• EnsuringthatinformationonSingaporearts and culture is readily availableto the local public and internationalaudience

• Progressing from a public sector-organisedtoprivateandpeoplesector-led arts and cultural scene with acomprehensivebaseofprofessionalsinspecialisedartsservices

• Developingfutureaudiencesbyputtingmoreemphasisontheartsineducationandartseducationinschools;improvingSingapore’s tertiary arts education togiveitmoredepth,andprovidingbettertrainingforartsteachersinschools

• Plugging the gap inmid-sized venuesand providing more af fordableworkspacesforartists

• Increasing Singaporeans’ exposureto arts and culture by bringing it tothe heartlands, making the most ofexistingfacilitieswithinthecommunity;enhancing access to arts and culturefor those from low-income families aswellaspeoplewithspecialneeds

• Diversifyingsourcesofsupportforthearts and culture to include donations,sponsorships and volunteer efforts byprivateestablishments,individualsandcommunityorganisations

18 Source: “roles of the 3ps in the development of Arts and culture”, Tan Tarn How and Arun Mahizhnan, Institute of policy Studies (22 March 2006); “community cultural engagement and the value of arts and culture in Singapore”, professor Lily Kong, department of Geography, National university of Singapore (January 2008).

D The Power I Zulkifli Yusoff, Mixed Media, Variable Sizes Singapore Art Museum Collection

ERainwater Even Though Salty is not Speechless Tran Trong Vu, Oil on canvas, 120 x 80 cm each

(3 panels), Singapore Art Museum Collection


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Photo © Singapore Symphony Orchestra

singAPorE in 2015

In response to the challenges, opportunities and feedback, theRenaissanceCityPlanIII(RCPIII) is thenext step to achievingSingapore’s visionas a Distinctive global City of Culture and the Arts.BuildingonthesuccessofRCPIandII, itaimstoseeSingapore in 2015as:

• a Vibrant Magnet for International Talent, consistently ranking highly inliveability indices due to its winningcombinationoffirst-worldinfrastructure,as well as its distinctivemulti-culturalandforward-lookingidentity;and

• a Best Home to an inclusive andcohesive population, appreciative andknowledgeableabout itsdiversity,andproudofitsnationalidentity.

RCP IIIwill invest an additional $116.25millionover five years, or$23.25millionannually towards NAC and NHB’soperationalbudgetstoachievethevisionof Singapore in 2015. MICA, NAC andNHBwillalsopartnerotherpublic,privateand people sector agencies, tapping onalternative sourcesof fundingsupport toimplementRCPIII.

strAtEgiC DirECtions

LikeRCPIandIIbeforeit,RCPIIIwillbeacomprehensivemasterplanthatguidesMICA, NAC and NHB’s total efforts forarts and cultural development. RCP III’swide-ranging strategicdirections supportthethreedesiredoutcomesofDistinctive Content, Dynamic Ecosystem andEngagedCommunity.

I. DIstInCtIve COntentContentisatthecoreofarts,cultureandthe creative industries.While technologyhas advanced rapidly, creating newplatformsforcreativecontent,attheheartof every work is a story to tell. Writers,composers, choreographers, artists andcuratorsarestory-tellersthatdrawontheirpastandtheirimaginationtocreateartisticworks thatdelightandeducate.Someoftheseworkswillgoontodrivethedigitalmedia,film,televisionanddesignsectorsasintellectualcapital.

RENAISSANCE CITY PlAN III — THE NEXT STAgE

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Opening Party at the Padang, Singapore Biennale 2006 © National Arts Council

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19 The area centred around the padang, the Singapore river and Marina Bay.

rENAISSANcE cITy pLAN III

A nation’s unique content also shapesits national identity and distinctiveness.Key cultural institutions, events andmonuments (for example, London’sTower of London, British Museum andTate Modern, New York’s Empire StateBuilding,LincolnCentreandMetropolitanMuseum, or Venice’s St Mark’s Square,ArtBiennaleandFilmFestival)projectacity’s identity internationally; and serveas repositories of the city’s heritage andcollectiveexperience.Similarly,anation’sbodyofcreativework– itsnovels,plays,music,dance,artworks–helpdefine itsvalues and ambitions to theworld. Theyalso reinforce a better idea of what itmeanstobeacitizenandinstilagreatersense of pride in the nation’s identityamongstthecitizenry.

As Singapore endeavours to become aglobal city attractive to Singaporeans,foreign talent and high net worthindividuals alike, its ability to generatedistinctive content that reflects anidentityunique in theworldwill becomeincreasingly important. MICA, NAC andNHB aim to drive the development ofSingapore’s distinctive identity throughthefollowing:

a.Develop a World-Class Culturaland Entertainment District withmajorartsandculturalofferings

All global cities need a vibrant anddistinctive centrewith leading culturalinstitutions and destinations. InSingapore, the civicdistrict19 alreadyfeaturesastableofculturalinstitutionsthatareunparalleledintheregion–theEsplanade,AsianCivilisationsMuseum(ACM), Victoria Theatre and ConcertHall, Singapore Symphony Orchestra,andArtsHouse@OldParliamentHouse,justtonameafew.

Come 2013, the opening of the National Art Gallery (working title)atthe former Supreme Court and CityHallbuildingswilladdsignificantly tothe stable of cultural offerings in thecity centre. NAG, with a gross-floorarea of 48,000 square metres, willrival established museums (such astheTateModerninBritain)intermsofsize. Reflecting Singapore’s heritageand geographical location, it willfeature Southeast Asian modern artfrom Singapore’s national collection,already well regarded as one of thebest collections of Southeast Asianmodernartintheworld.NAGwillalso

featurewide-rangingandhigh-profileblockbuster art exhibitions frommuseumsaroundAsiaandtheworld,establishingitselfasamajorauthorityin Southeast Asia and increasingsignificantly the diversity of culturalofferings available to Singaporeansandtourists.

MICAwillcontinuetoenhanceexistinginstitutions’ resources and capabilitiesnot just to present world-classexhibitionsandperformancesfromAsia,butalsotoallowforgreatercreationoforiginal Asian content in Singapore(seenextsection).TheVictoriaTheatreandConcertHallareduetoundergoacompleterefurbishmentin2010aspartof a broader plan to better synergiseand promote cultural institutions anddestinations in the Empress PlaceHistoric Cluster (which also includesthe ACM, the Arts House and theBoat Quay and Clarke Quay historicdistricts). MICA will also be exploringthe development of mid-sized venuesandrehearsalspacesattheEsplanadein order to support greater incubationand premiering of original performingartsofferings.

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C Victoria Theatre © National Arts Council

ANational Museum of Singapore Living Galleries © National Heritage Board

MICA’s goal is to develop a Cultural andEntertainmentDistrict thatcouldbeSingapore’sequivalentofBroadwayandWestEndintermsofsize,diversityandbuzz.AroundMarinaBay,severalmajorleisureandentertainmentcentreswillbecompletedby2010,withGardensby theBay,and the IntegratedResortbeingthekeydevelopments.MICAwillworkwiththeSingaporeTourismBoard(STB),UrbanRedevelopmentAuthority(URA) and private sector partners toenhance the visitor experience in thiscultural and entertainment district,encouragingasenseofexcitementandactivityeverywhere.MICAwillalsoworkwith STB to enhance the contributionof arts and culture to tourism inSingapore.

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b.Position Singapore as the choicedestinationtocreateandpremiereoriginal content focusing onSingaporeandAsia

Withitsworld-classculturalperformingvenues and museums, Singapore willbepositionedasthechoicedestinationfor arts professionals, whether localor foreign, to create or premiere anoriginalworkrootedinSingapore’sownmulti-culturalartsandheritage,aswellasthediverseethnictraditionsofAsia,inparticular,SoutheastAsia.

ReflectingthematurityofSingaporeansocietyaswellasrisinginterestinAsia,Singapore’sculturalscenehasbecomeincreasingly reflective, focusing onour history, role and future in Asia.The recentSingaporeTheatreFestivalby W!ld Rice featured plays that notonly drew upon Singapore’s historyand pre-history, but also commentedon prevailing issues today.20 TheSingapore Art Museum also recentlyput on a retrospective of SingaporeanContemporaryArtbyTheArtistVillage21

alongside exhibitions of Vietnamese,ChineseandIndonesianContemporaryArt. As consultationswith the general

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20 The festival drew 10,000 in ticketed attendance, with 22 out of 47 performances sold out. It also made prominent coverage in local and international press. 21 A contemporary arts group in Singapore founded in the late 1980s and including major names in Singapore’s contemporary art history such as Tang dawu, chng Seok Tin and Vincent Leow.

public have shown, this trend isunlikelytochangeasSingaporeansaredemandingmore cultural content thatresonateswiththem.

To address this demand, NAC willintroduce new commissioning andresidency schemes to support thecreation of original artistic content by local arts professionals andorganisations, in order to build upa pool of original creative worksrepresentativeofourdevelopmentandfutureasanation.MICAandNACwillalso tapalternativesourcesof fundingto encourage more arts professionalsin ASEAN and wider Asia to createandpremiereworkshereinSingapore,making full use of our culturalinfrastructuretodevelopourselvesasahubofcreativeactivityinAsia.

TheSingaporeArtsFestival,SingaporeBiennaleandSingaporeWriter’sFestivalwill be strengthened as platforms forthe discovery of new local and Asiantalent.Bycommissioningandpremieringmore new works, they will be criticalin presenting Singapore as an idealspringboard for emerging talent to gointernational.

Photo courtesy of the Art Gallery Project Unit, Ministry of Information, Communications and the Arts

WhileNHBcontinuestofeaturethelatestin Asian heritage and contemporaryart in its museums, it will also investmore into acquisition, research,documentation and preservation ofSingaporeandAsianculturalheritage.NHB will develop a comprehensiveacquisition strategy to strengthenthe value and historical significanceof Singapore’s National Collection. Itwill produce more scholarly research and publications in Singaporean andSoutheast Asian history and heritageand host museum exchanges andforums (such as theASEANMuseumDirectors’ Symposium) that wouldbringtogetheracademics,researchersand other museum professionals inknowledgeexchange.

NHB will be developing selectedHeritageCentres thatareassessedtohave helped promote a greater levelof awareness of Singapore’s nationalidentity and her links with the AsianDiasporas. These centres, whichinclude the Malay Heritage Centre,theSunYat SenMemorialHall and aplanned Indian Heritage Centre, arelocated within historic districts suchasLittleIndia,BalestierandKampongGlamandwillbeusefulreceptaclestohostcollectionsandeventsfocusedonthe histories of Singapore’s diasporas.They could also enhance the tourismpotentialoftherespectivedistricts.

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Writer Goh Poh Seng at an autograph session, Singapore Writers Festival 2007 © National Arts Council

C Tan Swie Hian’s calligraphy performance, 50th Venice Biennale © National Arts Council

H The Dancing Sky by Studio Festi, Night Festival at the National Museum of Singapore, © National Museum of Singapore/Stefan Chow

CRadar by Nakhee Sung, Singapore Biennale 2006 © National Arts Council. Photo by Ming


c.Showcase “made-in-Singapore”content internationally

Singaporeancontentisnolessuniquethan other cultural content. Not onlydo we have indigenous traditions(Peranakan, Eurasian, Malay, Indianand Chinese), we also benefit from amulti-culturalismthatstrengthensasthecountrybecomesmoreopen to talentand immigration. With a communityof local and foreign arts and heritageprofessionals creating and workingin Singapore, “made-in-Singapore”content will be easily recognisableby its multi-cultural influences andblend of traditional and contemporaryelements,mirroringSingapore’shistoryandimageasafusionofcultures.MICAbelieves that this has the potential toform the basis for distinctive lifestyleandentertainmentofferingsthatwouldattract tourists, foreign talent andinternationalinteresttoSingapore.

Thus far, MICA, NAC and NHB havetaken initial steps to enhance theexposureof the internationalcommunitytoSingapore’suniqueculturalcontent.Through the Singapore Seasons inLondon (2005) and Beijing/Shanghai

(2007), as well as our representationat the prestigious Venice Biennalesince 2003, we have showcased thebest of our local artists, arts groupsand National Collection. NAC hasalso enhanced access to internationalnetworks and markets like MIDEMand the Frankfurt Book Fair. Effortshavepaidoff,withflagshipcompaniessuch as the Singapore SymphonyOrchestra and Singapore ChineseOrchestra being invited to perform atvenues in theUK,Europe,China andAmerica, and artists such as HemanChongreceivinginvitationstoexhibitatotherkeyinternationalartseventsandartsspaces.

We will continue to enhance these efforts through presentations atinternational conferences, fairs andshows and through government-to-government and agency-to-agencyagreements.Forexample,Singaporeisintalkstoconcludeanunprecedentedcultural agreement with France that may see Singaporeans gainingaccess here to prestigious exhibitionsfrom leading French museums,as well as the best of Singapore’s

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22 NAc has Mous with international counterparts such as Arts council England and Arts Victoria (Melbourne).

collectionbeingshowcased inFrance.Through its variousMemorandums of Understanding (MOUs) with partneragencies in other countries, NACensures that the best internationalgroups are showcased in Singaporeand that Singaporean groupshave the opportunity to entertainaudiencesoverseas.22

Beyond formal cooperationagreements,NACwillalsostepuptheshowcasingofSingaporeanartsandcultureabroadbysupporting tours of local productions and exhibitions of exceptional qualityto major overseas arts destinations,venues and events. NHB and thenational museums will similarly lookforward to touring museum shows focusedonSingaporeanandSoutheastAsian heritage, and collaboratingwith par tner museums and institutions abroad. Some plannedtoursincludeanexhibitiononSingapore’scontemporary society and SoutheastAsian art to the United Kingdom, aswell as presenting a showcase ofPeranakanartefactstoEurope.

C Sitar player from Transglobal Underground. Opening night of WOMAD (World of Music and Dance) at Fort Canning. Source: The Straits Times © Singapore Press Holdings Ltd. Permission required for reproduction.

BMalay Heritage Centre at Kampong Glam. Source: Berita Harian © Singapore Press

Holdings Ltd. Permission required for reproduction.



II. DynAmIC eCOsystem The arts and culture ecosystem is thesumtotalofallpartiesthatplayaroleindeliveringcontenttotheaudience.Theseinclude not just the content creators –artists, writers, curators, arts groups,museums–butalsotheartsbusinessesandspecialisedartsservices–commercialartgalleries,productionhouses,publishingfirms,impresarios,auctionhouses,privatemuseums, arts administrators, technicallightingprofessionals,eventscompanies,exhibition designers, artist managementcompanies, conservation services, artlogistics, art storage, art historians, artcritics,artseducators,arttherapists.Thelist goeson (seeAnnexB forSingaporeStandard Industry Classification (SSIC)and Singapore Standard OccupationalClassification (SSOC) codes, whereavailable).

To distribute distinctive “made-in- Singapore” content locally andinternationally, Singapore will needto develop a complete and healthyecosystem. RCP I and II have thus farconcentrated on supporting contentcreators.Whilesupportforthiscoregroupofprofessionalswillcontinue,RCPIIIwillalso extend support to arts businessesandspecialisedartsservicesthroughthefollowing:

a.Developthrivingclustersoftalentand businesses

Today,aprimaryneedofmostplayersin the ecosystem continues to bespace. Artists and arts groups needaffordable workspaces, studios andrehearsalfacilitiestocreatenewworks.Arts businesses also need sizeable,accessibleandaffordableofficespace,gallery space and storage facilities.Unlike other cities such as London,New York and Beijing, where creativeprofessionalsandbusinesseshavetheoptionofmovingintoderelictbuildingsintheoutskirtsofthecitywithextremelylow rental rates, the scarcity of landin Singapore means that our localprofessionalsandbusinessescontinuallyfacethepressureofrisingrents.

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Thusfar,theGovernmenthastakentheleadinprovidingsubsidisedworkspacesunder the Arts Housing Scheme forartists and arts groups, but has beenlessproactiveinsupportingbusinesses.Increasingly,thebusinessesthemselvesaresteppingintoplayastrongerroleinthe ecosystem. For example, creativeenclaves are emerging, such as theEmilyHill Consortiumwhere a privateorganisationoraconsortiumofprivateorganisations undertakes the role ofdeveloping a community of not onlybusinesses but also artists and non-profitartsorganisations.

The trend is for arts businesses,non-profits and talents to gravitatetowards such clusters of creative orindustrial activity where talents andbusinesses across the entire arts andcultural ecosystem are anchored atclose proximity. The advantage ofclustering is that arts businesses willhaveeasieraccesstocontentcreatorsand specialised art services and

Interior of Sculpture Square © National Arts Council

Lang KacangBayu Utomo B. RadjikinMetal and cement141 x 104 x 120 cmSingapore Art Museum Collection


798 ART DISTRICT, BEIjINg, CHINA

Hometoover300artists,798wasoriginallyagovernmentammunitionsplantindangerofbeingdemolished.Thissituationopenedthedoorforartistsinsearchoflow-costspace,whichtheybegantoconvertintostudiosandlive-inlofts.Drawnfromacrossthecountry,theseartistswerealsoattractedtothesite’s location in Beijing’s ChaoyangDistrict. Today, it has becomeChina’spremierhubofcontemporaryart.Atthispoint,approximatelyhalfofthefactorycompound–about100,000squaremetres–isrented.Spacehasbeentakenbyabout50galleriesandartcentresofvaryingsizes.Otheroccupantsareartistsandcommercialventuressuchasbookshops,barsandrestaurants.

The galleries organise regular exhibitions of Chinese contemporary artists’works.Theworksofforeigncontemporaryartistsarealsoregularlydisplayed.Atanyonetime,foreignartistsfromFrance,USA,Belgium,Australia,SouthKoreaandSingaporecanbefoundinonegalleryoranother.

Asaresultofitscommercialsuccess,theBeijingGovernmenthasadopteditasagovernmentprojectandnolongerwantstodemolishit.Theirobjective,beyondapossibleboosttofinances,istoshowtheworldthatBeijingshouldnotjustberegardedforitshistoricalsites.5

BROADWAY THEATRE DISTRICT: NEW YORK CITY

TheBroadwayTheatredistrictisaclusteroftheatres,cinemas,restaurants,hotels, food and beverage and other entertainment options in mid-townManhattan.Itextendsfrom42ndStreetto53rdStreet,andfromSixthAvenuetoNinthAvenue.Theheartof thedistrict isthefamousTimesSquare.It isthesecondlargestEnglish-speakingtheatresceneintheworld,thefirstbeingLondon’sWestEnd.

Whiletherearemanytheatresinthetheatredistrict,thereareonly39Broadwaytheatres.ToqualifyasaBroadway theatre,a theatremusthavemore than500seats.BasedonstatisticsreleasedbyTheBroadwayLeague,Broadwayshowssold12.27millionticketsinthe2007-2008season,grossing$937.5million.Thiswasbasedon36newproductionsand1,560playingweeks.

Broadwaycontributesafurther$5.1billiontotheNewYorkCityeconomyontopofticketsalesandsupports44,000localjobs.Morethan6millionticketsareboughtbyvisitorswhocometoNewYorkCity(orextendatrip)specificallytoattendaBroadwayshoworshows.Broadwayaudiencesaresplitamonglocals(about35%)andtourists(about65%).6

5 Source: http://www.studio-international.co.uk/reports/beijing_798.asp6 Source: The Broadway League, www.broadwayleague.com

Box 2 - International Arts Business Clusters

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thus greater efficiency and synergyare achieved. For example, situatingcommercialgalleriesnearartiststudios,anartsstoragefacility,anartslogisticscompany and a conservation housewill allow the gallery to minimise theneedforcostlytransportoffragileandvaluableartworkorartefacts.

Clustering also benefits all playersin the cluster in terms of publicityand attracting talent and customers.While one gallery alone may onlyattract a small customer base andundertake limited publicity, a clusterof 100 galleries and specialised artsservices can generate enough visiblebusiness activity and buzz to attractnational (or international) attention,the best industry talent and a largercustomer base. International studieshave affirmed that creative clustersare important aspects of global citiessuchasLondon,NewYork,Berlinandeven Beijing. They are critical driversof economic growth in the creativeindustries,andalsoplayastrongroleincitybranding(SeeBox2).

Exterior of Sculpture Square © National Arts Council



To drive the growth of the arts andculturalsector,aswellastoattractmoreinternationalcreativetalent,businessesand consumers, MICA agencies willworkwithotherpublicagenciestoseedarts industry clusters in Singapore.Some pipeline projects include thefollowing:

• MICA,NACandNHBwill partner theEconomic Development Board (EDB)to grow the arts industry, as part ofEDB’s broader plans to develop thelifestyleindustryasagrowtharea.Thiswill involve growing the base of artsbusinesses in Singapore comprisingauction houses, galleries and artbusiness supporting services such asartstorage,artlogisticandprofessionalconservationservicestoservegrowingregional demand, reap enconmicreturns and create new jobs in highlyspecialisedartsservices.

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• MICA will also partner public andprivate sector agencies to developthe Bras Basah district23 as a multi-disciplinary creative and educationalcluster comprising mixed use offices,residency spaces and studios, privatemuseums, educational institutionsand comp lement ar y l i f e s t y l eenterprises. The aim is to enhancethe sense of energy and buzz in thedistrict, aswell as to position it as aninternational hotbed of creative talentandideas.

Tosupportthedevelopmentofthrivingclusters of businesses and talents,NAC and NHB have introduced newindustryseedfundingschemesunderRCP III. NHB’s Heritage IndustryIncentive Programme (HI2P) willprovide seed funding suppor t forprojects,businesses,privatemuseumsandotherprivateplayersintheheritageindustry, while NAC will continue tofund arts-related businesses throughitsArtsBusinessFramework.

Thisclusterdevelopmentmodelwouldrequire a strong partnership betweentheprivatesector, theartscommunityandtheGovernment–aPeople-Private-Public Partnership. MICA agencieswillworkwithEDBandURAtoreviewexistinggovernmentregulationsonuseof residential and other properties, inordertoeasetheacquisitionoffacilitiesforprivate-andcommunity-ledculturalor creative projects. This is to enableprivatebusinessesintheculturalsectortobemorecommerciallyviableaswellasencourageothercommercialplayersto enter the industry. We will also develop new incentive or assistanceschemes for private developers whohave an interest in entering the artsindustry.NACwillfurtherreview and enhance itsArtsHousingScheme toensureitcontinuestocatertotheneedsoftheartscommunityandtrendsintheartssector.

23 The Bras Basah district centres around Bugis Junction and Bras Basah Shopping complex just off the civic district. It features key cultural and educational institutions such as the National Library, the National Museum, the Singapore Art Museum, the Nanyang Academy of fine Arts, LASALLE college of the Arts, the School of the Arts, Singapore and Singapore Management university. It also features arts and heritage belts along Waterloo Street and Middle road and a cluster of private arts education providers along Selegie rd and prinsep Street.

C Staff Workshop at Heritage Conservation Centre © National Heritage Board

A Talk by the Heritage Conservation Centre at Pioneer Junior College © National Heritage Board



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b.Strengthenprofessionalcapabilitiesin arts and culture, in particular,for arts business and specialisedarts services

A dynamic ecosystem needs tobe supported by a highly-qualifiedtalent pool in a wide-ranging varietyof professions. Singapore’s artsand entertainment industry is set toboom by 2015. With the impendingdevelopmentoftheIntegratedResorts,the development of the National ArtGallery and the emergence of artsindustry clusters, the outlook forthe industry is highly positive. Animmediate challenge, however, is howtoaddressashortfallofcertaincriticalspecialised arts services professionalslike museum curators, conservatorsandartsmanagers.

Thus far, NAC’s efforts in talentdevelopment have inadver tentlytargeted core arts professionals.Throughacombinationofnationalartscompetitions, scholarships, traininggrantsandbursaries,aswellasnationalawardssuchastheCulturalMedallionandtheYoungArtistAwards,NACplaysakeyroleindiscovering,groomingandrecognising talent in variousart forms(music, theatre, dance, visual arts,literary arts and others). Occasionally,some scholarships or bursaries maybegivenouttoindividualsinterestedintakingupartsmanagementorcuratorialstudies, but these often attract lesspublicity as they are seen as less“glamorous” than pure arts practice.Also,whiletraininggrantsaretargetedat helping arts organisations shoreuptheirmanagement-related capabilities,most arts groups are simply toostretchedforfunds,ortoopreoccupiedwith day-to-day operations to take upthesetrainingopportunities.

NHB offers scholarships in criticalspecialisedartsserviceslikecuratorialstudies, museum management or arthistory.Currently,theheritageindustryinSingapore is smallwithNHBbeingessentially “the industry”. Its scholarsare thus bonded to NHB and returnto work for the National Museums.Some have eventually left to becomefreelance heritage professionals –curators and conservators. In themediumterm,withthedevelopmentofNAGandmoreprivatemuseums (theIntegrated Resorts, for example, areexpectedtoeachfeatureonemuseum),NHBwillneedtoundertakecapabilitydevelopmentfortheheritagesectorasawhole.

Two other aspects of the local artsworkforcepresentchallenges to talentand capability development. Firstly,thereisahigherthanaverageproportionof freelancers in the cultural sector.Most theatreprofessionals,artistsandcurators are essentially one-personoperations who work on a contractbasis. Such a basis for employmentmakes it difficult to apply traditional

employment-based skills developmentprogrammes to this sector. It alsomakes it difficult to track growth andensureequitablestandardsintermsofskillorcraft.

Secondly,therearelimitedopportunitiesto pursue training and continuingeducation in the specialised artsservicesinSingapore,particularlysincethese tend to be highly specialisedand either require post-graduatelevel qualifications (arts history, artseducationandcuratorship,forexample)or are vocational (for example, lightingandtechnicalcrew,art/artefactsframingand installation). While some playersin the arts education landscape havestarted offering such courses – forexample, LASALLE offers courses inarts management and arts education,whilethenewSotheby’sInstituteofArtoffers post-graduate degrees in fineartsbusiness–theremaybeaneedtoconsiderofferingmoreofsuchcoursesinSingaporeatvariouslevels,orreviewscholarship and bursary schemes inorder to supportmore talent in criticalareasobtainingtrainingoverseas.

A Toast, Su Xinping, Oil on canvas, 190.2 x 239.2 cm, Singapore Art Museum Collection



26

To address these challenges, MICA,NAC and NHB are developing acomprehensiveCapability DevelopmentRoadmap to identify manpower andtrainingneeds in theartsandculturalsector. This will be part of a broaderroadmap for manpower developmentin the Creative Industries. Theplan will be focused on addressingcontinuing education and training(CET) needs, enhancing the industryrelevance of tertiary and pre-tertiaryspecialised arts education (addressedin the next section), and enrichinggeneral arts and history education(covered under Desired Outcome III:EngagedCommunity).

Under the aegis of this plan, MICAagencieswill workwith the SingaporeWorkforce Development Agency (WDA)to develop a Creative industries Workforce Skills Qualificationframework todevelopskillsstandardsand training needs for the entirecreative sector, including the arts andcultural sector. Such a frameworkwillenhance the overall professionalismand employment prospects for artsandculturalprofessionals,andwouldalso be critical in identifying andaddressingindustryneedsintheareaof specialised arts services. MICAagencies will also work with EDBas part of its plans to develop thearts industry to identify and addressskills and manpower needed to fueleconomic growth in this sector. Newtrainingandupgradingschemeswillbetargeted at priority arts business andspecialised arts services capabilitieslistedinAnnexB.

c.Enhance industry exposure andrelevance in tertiary and pre-tertiaryspecialisedartseducationandtraining

Besides continuing education andtraining,thereisalsoaneedtoreviewtertiary and pre-tertiary specialisedarts education offerings in Singaporetoensuretheyaddressindustrytrendsandneeds.

Singapore’s specialised arts educationlandscape is nascent but growing. Atthetertiarylevel,theNanyangAcademyof FineArts (NAFA) and the LASALLECollege of Fine Arts, established in1938 and in 1984 respectively, havelong been the only specialised artsinstitutions in Singapore, offeringdiploma and degree courses. Inrecent years, however, a drive towardsdeveloping thecreative industrieshaveseenmoreinstitutionsestablishedatthetertiary level – these include the YongSiewTohConservatoryofMusicat theNational University of Singapore, theSchool of Arts, Design and Media atthe Nanyang Technological Institute,as well as Republic Polytechnic24.Brought to Singapore under EDB’sGlobal Schoolhouse Initiative, foreigninstitutionssuchastheprestigiousNYU

TischSchooloftheArts,andSotheby’sInstituteofArthavealsodiversifiedtheartseducationallandscapeinSingapore.The challenge for MICA, the Ministryof Education (MOE) and these artsinstitutions is to ensure that graduatesentering the creative workforce aresufficiently addressing the needs ofartsorganisationsandbusinesses,andcontributingmeaningfully toSingapore’sartsandculturescene.

Similarly, at the pre-tertiary level,opportunities for specialised artseducation are growing. In 2008,recognising that therewasa lackofaspecialisedartseducationinstitutionatpre-tertiarylevel,MICAestablishedtheSchooloftheArts,Singapore(SOTA)toprovide opportunities for talents agedbetween13and18yearsoldtopursueaninterestinthearts.SOTA’svisionistodevelopcreativeleadersforthefuture– future artists, creative professionalsand passionate supporters for thearts in all fields. To ensuremaximumexposureofSOTAstudentstoourlocalartsandculturalscene,mostofSOTA’sarts faculty are not only educators,but arts practitioners as well. SOTA’sformalcurriculumalsointegratesvisitsandattachmentstoculturalinstitutions

24 republic polytechnic specialises in the creative industries and is currently the only institution offering technical theatre (theatre lighting, sound, staging) as a diploma course.

Photo © School of the Arts, Singapore



27

in Singapore, masterclasses andmentorship by local and visiting artspractitionersandparticipationinnationalandinternationalcompetitions.

By the end of 2012, the first batchof SOTA students will graduate, andwhilemostwillgoontopursuetertiaryeducationandacareerinotherfields,MICAexpects thatup toafifthof thecohort will take up a career in thearts and broader creative industries,including specialised arts and creativeindustriesservices,due to thepassionand professionalism they have beenexposed to and have acquired duringtheirdevelopmentatSOTA.

With the emergence of SOTA, it istimelytolookathowotherformsofpre-tertiaryspecialisedartseducationandtraining may be enhanced. Currently,

there are two main channels withinthe formal MOE school system foryoung talents topursue their interestsand furtherdevelop their talent in thearts.TheseareMOE’sArt,MusicandTheatre Elective Programmes25, andarts-related co-curricular Activities(CCAs).BasedonMOEstatistics,morethan300studentsgraduateeachyearfromtheArt,MusicorTheatreElectiveProgramme,whilemorethan130,000students participated in arts-relatedCCAs in 2007. Whether it is due toinsufficient information of careersin arts and culture, or simply due toparental pressures, a key challengefor MICA and MOE thus far is inencouragingmoreofthesestudentstocontinue topractise inprofessional orsemi-professional capacity when theyleaveschool.

Artist Representation of the School of the Arts, Singapore’s (SOTA) Kirk Terrace Campus. Photo courtesy of Arts School Project Team, Ministry of Information, Communications and the Arts.

Aspartofthemanpowerdevelopmentplan for the arts and cultural sector,MICA will work with MOE andother partners to look at enhancingindustry exposure and relevancein specialised arts curriculum andtraining programmes at both the pre-tertiaryandtertiarylevels.Theaimistodevelopa“lightedpathway”foryoungtalentswhochoosetopursueacareerinartsandculture,inorderthatmoreof them transition successfully intothe cultural workforce.MICAwill alsoprovidemore information to students,schools and educational institutionson the range of career options (inparticular, specialised arts services)and growth potential of the arts andcultural sector, in order that studentsmakeempoweredcareerchoices.

25 The Art Elective and Music Elective programmes are offered at secondary schools and junior colleges and prepare students for the GcE ‘o’ and GcE ‘A’ Level Art and Music examinations. The drama Elective programme is offered at junior colleges and prepares for students for the GcE ‘A’ Level Theatre Studies and drama examination.


CBaybeats 2007. Photo courtesy of The Esplanade Co. Ltd.

HPesta Raya Malay Festival of Arts 2007. Photo

courtesy of The Esplanade Co. Ltd. AArtist Yayoi Kusama’s installation art piece

entitled Dots Obsession at ARTSingapore 2005. Source: The Straits Times © Singapore Press Holdings Ltd. Permission required for reproduction.


28

III. engaged CommunityArts and culture is a critical aspect ofnational identity, community building andeducation. Without arts and culture, anationwould have no soul, a communityno shared ties of understanding andbelonging, and our youth no conceptionof our history, values, and ambitions forthe future. Conversely, themost importantstakeholdersinartsandculturearestudentsand the community since they representcurrentandfutureaudiences,consumers,participantsandcreators.

Arts and culture are especially importantin Singapore’s context due to our multi-cultural and multi-religious social fabric.In post-independent Singapore, culturalprogrammes were introduced by thegovernment to encourage inter-racialunderstandingandenhancenation-building in the early years. Today, the People’sAssociation(PA)continuestouseartsandcultureasaplatformforencouraginginter-racial harmony and building communitypride, a challenge that will intensify asSingapore’s society becomes even morecosmopolitanandethnicallydiverse.

Arts and culture are also importantbecause of Singapore’s bid to move upthevaluechaintowardsmorehighvalue-added services such as the creativeindustries, financial services and legalservices. A holistic education with afirm grounding in arts and culture in itsbroadest sense (which includes history,humanities and languages) would becritical in nurturing young talents withinquisitive and analyticalminds, creativeand innovative mindsets, and strongcommunication skills, to enable them tosucceedamidstthegrowingcomplexityoftoday’sgloballandscape.

Finally, arts and culture are important forbuilding a gracious society and sense ofbelonging to Singapore. As our societymatures,philanthropyandsponsorshiparetopicsthataregaininggreaterprominenceasmoreSingaporeansseekoutwaystogivebacktosociety,andmorecompaniesseekto adopt social causes. Arts and culturearecompellingplatformsforSingaporeansandnewresidentstoleavealastinglegacyforfuturegenerationsofSingaporeans,beitthrough bequests of private collections, orsupportofartsandculturalorganisations.


Singapore HeritageFest 2006 © National Heritage Board


29

In nurturing an Engaged Community inSingapore,MICA,NACandNHBaimtodothefollowing:

a. Enhance and enrich general artsandhumanitieseducation

Generally,Singapore’seducationsystemhas been moving towards one thatis more flexible and diverse (offeringstudents greater choices in meetingtheir different interests and ways oflearning),andbroad-basedtoensureanall-rounded or holistic development inandoutoftheclassroom.Atthegeneraleducation level, there is a concertedeffort to ensure that all students gothroughsomeformofexposuretoarts,culture andhistory at the primary andlowersecondarylevels.

Given Singapore’s transition into aglobal knowledge and innovation-based economy, there is a need tomake a stronger case that a holisticandbalancededucationwithanequalemphasison“hard”and“soft”subjectsis critical for competing in a globalmarketplace. Even in “hard” business

and technical professions today (e.g.finance,IT,law,engineering),companiesare increasingly looking for talentwithstrong analytical and critical thinkingskills,acreativeandinnovativemindset,theabilitytomanagecomplexity,aswellas the cultural sensitivity towork in aglobalised,multi-culturalcontext.Theseareskillsetsnurturedthroughexposuretoarts,cultureandthehumanities.

Thusfar,MICAagencies’involvementingeneral arts andhistory educationhasbeen limited to informal programmesrather than formal curriculum. NAChas partnered Singapore TotalisatorBoard and MOE in exposing studentsin school to the arts through theNACArts Education Programme26. NHBand the museums also provide publiceducationandoutreachprogrammestoschoolgroups.

However, given the arts and heritageresources that MICA agencies haveand themany arts and cultural eventsthat they organise and support, thereis scope for a stronger partnership

between MICA and MOE to injectgreater depth and opportunities forexperiential learning into formal arts,history and other relevant humanitiescurriculum to create more engagingandenjoyablelearningexperiences.

For example, visits to the NationalMuseum, theSingaporeHeritageFest,theEsplanadeortheupcomingNationalArtGallerycouldbepartandparcelofhistory,artandmusicclasses.StudentscouldbesenttotheNationalArchives,the National Library or the HeritageCentres (e.g. Malay Heritage centres)for research projects into family orcommunity histories. More informationonlocalandAsianvisualandperformingartistsandtheirworks(includingpiecesfrom the National Collection) couldalso be incorporated into textbooks,coupledwithfield-tripstotheSingaporeBiennale.Inthisway,classesaretakenoutoftheclassroomandstudentshaveamoreimmediateexperiencewithwhattheyarestudying.

Under the Capability DevelopmentPlan,MICA aims to explore withMOEmeans of enriching general arts andhumanitieseducationwithourculturalresources.ThePlanalsoaimstoexplorethedevelopmentofschemestosupportarts and humanities teachers andinstructors, ensuring that they haveample opportunities to upgrade theirskillsandbeexposedtoboththe localandinternationalscenes.Ascustodiansof our nation’s future creative talent,strong arts and humanities teacherswillbethetippingpointforSingapore’stransition into a full-fledged knowledgeand innovation economy withinageneration.

26 The programme provides each school with some funds that they can use to either expose their students to arts performances and exhibitions, or to bring in artists and arts groups to create works or give talks in the school. currently, 99% of all schools and up to 60% of the total student cohort have participated in at least one National Arts council Arts Education programme (NAc- AEp) in the last year.


CNorth East District Dance Festival © National Arts Council H South West District Arts Festival © National Arts Council


30

b.Strengthen community bondingandpridethroughartsandculture

Thatartsandculturearean importantplat form for inter-racial harmony,community bonding and pride hasbeen undisputed since Singapore’sindependence. With the greying anddiversification of our population base,arts and culture is likely to becomethemost socially inclusive platform forcommunitybondingasitallowsforbroad-basedparticipationbyall,regardlessofage,raceorfinancialbackground.

MICA agencies’ approach in this areahas traditionally been to enhancecommunityaccesstocultureinordertobuildaudiences.Throughrovingpublicoutreach programmes of national artsevents such as the Singapore ArtsFestival, the Singapore Art Show andthe Singapore HeritageFest, arts andculture are brought to the people. Atthesametime,thepeoplearebroughtto our cultural institutions like theEsplanade and the museums withnon-ticketedartsevents,festivalsthattargetspecificcommunitygroups27andmuseumoutreachprogrammes.

While this approach continues, wehave started to recognise the strongrole that arts and culture can play instrengthening community bonding andidentity.Overtheyears,PAhasinvesteda significant amount of resources intodistrict-level artsandcultural activities.In2006,NACsignedanMemorandumof Understanding (MOU) with PAwhich called for the joint developmentof District Arts Festivals (DAFs) andthe development of community artstalent.ThefiveCDCsinSingaporeeachorganise a unique DAF yearly (withsome funding support fromNAC) thatcelebratestheirowndistinctcommunityidentity. At lastcount,fiveDAFswere

organised in 2007, reaching out to140,000residents.CommunityCentresalsoregularlyoffercoursesintraditionaland contemporary art, music, danceand other art forms, as well as stageperformancesbycommunitytalents.PA further manages and developstraditionalartsgroupsliketheNationalMalayandIndianOrchestras.

NHB, on its part, beganworkingwithstudents and community groups in 2006 to document and preserveCommunityHeritageTrails.Atpresent,four heritage trails have been createdwith strong involvement from thecommunity. For example, the BukitTimah Trail was created based onresearch by students from NationalJuniorCollege.Besidesheritage trails,NHBalsoreachesouttothecommunitythrough itsOralHistoryproject,whichcaptures, for posterity, their uniquefamily and community histories,as well as various publications thatdocumentresidents’sharedmemoriesofSingapore’shistory.

Goingforward,MICAagencieswillworkwith PA and other partners to deepentheengagementofthecommunitywithartsandculturethroughfourkeyareas:

•Community as Practitioners and Creators – RCP I and II invitedthe public to be members of theaudience and visitors to museums.RCP IIIwill encourage thepublic tobeactivepractitioners,takingupartsand cultural activities for personaldevelopment,educationorrecreation.RCPIIIwillalsoencouragethepublictobecreators,andtopartnerartsandheritage professionals in producingunique community arts that reflectcommunity identity and heritage,address community issues, as wellasenhancecommunitybonding.

27 for example, the Esplanade’s Huayi, pesta raya, Kalaa utsavam and Baybeats festivals target the chinese, Malay, Indian and youth segments of the population.



31

• Targeted Programmes for Diverse Communities–Asopposedtobroad-based general arts and outreachprogrammes, MICA agencies willtargetartsandculturalprogrammesto specific priority segments of thepopulation such as lower-incomefamilies, youths, senior citizens,peoplewithspecialneedsandat-riskindividuals.

•Professional Development for Community Arts Talent –Therearemany community-based arts andcultural groups that practise on anamateur or semi-professional level.NAC will partner PA to providesupport for skills upgrading, aswellas more opportunities for exposureand showcasing of their talent.Beyond instillingasenseofpride inthegroupsandthewidercommunitytheyserve,theaimisalsotoensuresome groups grow to becomeprofessional arts organisations thatSingaporecanbeproudof.

•Distinctive and Innovative District Arts Programmes–NACwillworkwithPAandtheCDCstofurtherenhancetheDAFs,facilitatingthedevelopment ofmoreinnovativeprogrammingthatreflectslocalcultureandheritage,aswell as strengthening the brandingandpositioningoftheDAFs.

To address the focus areas above,NAC will launch its Arts for All CommunityEngagementPlan in linewith the renewal of itsMOUwith PAin 2008. The highlight of the Plan isaCommunityParticipationGrant tosupportcommunity-initiatedartsandcultural programmes which benefitthecommunity.NHBwillalsoextendthereachofitsCommunityHeritagetrails toallowforgreatercommunityinvolvement in documenting andpreservinglocalheritage.

Beyond programmes and initiatives,MICA will also explore using artsand culture to rejuvenate residentialenvironments and create a strongsenseofplace:

•Co-locating Arts/Cultural Groups or Facilities in Community Spaces – MICA and agencies will workwith PA, MOE, URA, the HousingDevelopmentBoard(HDB),NationalParks Singapore (NParks) and thePublic Utilities Board (PUB) toexplore opportunities to integratearts and co-locate arts groups orarts/heritage spaces into existingschools, libraries,malls, communitycentres, aswell as parks and otherpublic areas, with the objective ofstrengthening the distinctivenessof our urban landscapebeyond thecity centre. In particular, given theextensive network of public parksandwaterbodies,thereispotentialtointroducemoreperformingvenuesorpublicartintothesepublicspacesinordertoincreasepublicthoroughfare,aswellascreateadistinctiveidentityforeach.

• Transforming Singapore’s Urban Residential Environment through Arts and Culture – In the longerterm,MICAaimstopartnerHDBandURAtoexplorenewmodelsoftownplanning and design that integrateartsandcultureintothephysicalandexperiential environment. The aimis to inject greater uniqueness anddiversity into the built environmentof the heartlands, but also embedfeatures that encourage communityinteraction and bonding into thedesignofthetown.


32


c.Incentivise greater privatephilanthropy and sponsorship toarts and culture

In the gracious society envisioned forSingapore in 2015, the Governmentwill be partnered by a strong privatesectorinthesupportanddevelopmentof the arts and cultural scene. MICArecognises that while Governmentfunding support will always continue,Governmentfundingalonemaynotbesufficient tomeetour long-termvisionto become a global city. As seen inmorematureculturalsectors,evolvinga financing model for the arts andculturalsectorinvolvingboththeprivateand people sector will diversify thesources of funding, and help achieveahigherdegreeofsustainabilityinthelongerterm.

Today, in addition to signif icantgovernmentsupportintheUKandUS,private giving by wealthy individuals,foundationsandcorporationsaccountsfor some 30% of total investment intheartsandcultureorS$1.7billionintheUK,and90%orS$19billionintheUS28. Incomparison,privategiving inSingapore,includingin-kindcorporatesponsorship,amountstoaroundS$40million per year on average. Thisamounts to about 25% of averageannual total operational funding forarts and culture, but significantlylower if you also consider investmentincapitaldevelopment.

Thereisscopetogrowtheprivategivingpie for arts and culture in Singapore.This is especially given the increasinglevel of private wealth in the region,and efforts of government agenciessuch as EDB and STB to developSingapore as a centre for high networth individuals (HNIs) and privatewealthmanagement29.

Encouragingculturalphilanthropyalsoprovidesanavenuetocultivategreatersharedresponsibilityandco-ownershipfor our nation’s culture and heritage.For foundations and HNIs, givingto culture via donations of funds orartefacts andartworks is anattractivemeans of contributing towards alasting national legacy, and hence anexpression of long-term commitmentand engagement. For corporations,the positive association with arts andcultureenhances thesophisticationoftheirbrandorreputation.

Currently,theGovernment’sincentivesfor giving to the arts and culture arelimitedprimarilytodoubletaxincentives(seeAnnexD).Givenourrelativelylowcorporate and individual tax rates,these existing tax incentive schemesare effective as a form of recognitionforcorporatesponsorships,buthavealimited impact inattractingsubstantialand sustained giv ing, especiallycashdonations30.

WhileMICA,NACandNHBwillcontinueto promote and enhance existingincentivesandformsofrecognition,wewillexplorenewschemestoincentivisegreaterphilanthropyandsponsorship.

MICA recognises that a significant gap in the arts and cultural sectoris a lack of strong fund-raising, artsmanagement and relationshipmanagement capabilit ies in theartscommunity. Toaddress thisgap,MICA,NACandNHBwillalsoexplorethesettingupanindependentartsandbusinessentityinthemediumtermthatcould build partnerships between thearts and the business community, aswellasofferartsmanagementcapabilitybuilding and consultancy services toartsandculturalorganisations31.

28 Source: Arts and Business UK 2007 and National Endowment for the Arts Annual Report 2007. It should be noted that the uS model is unusual and that no other country has such a high level of private giving to the arts. This is because historically, the uS has had a very strong tradition of American-based private foundations and corporations donating to arts and culture to establish cultural legitimacy and recognition. The uS also has a relatively high estate and/or inheritance tax system, which prompts charitable giving of substantial resources of funds, land and collections to museums and arts organisations.29 Based on the Merrill Lynch World Wealth report 2006, a quarter of the world’s wealth under High Nett-worth Individuals (HNIs) amounting to uS$8.4 trillion was held in the Asia-pacific region, with Singapore registering the highest actual percentage growth (21%) in HNIs. 30 In a 2007 NHB survey on donor management, donors indicated that double tax incentives were insufficient encouragement for donating because of the low tax rates in Singapore. This is especially when compared to the uK and uS, where higher tax rates and high estate duties raise the attractiveness of tax incentives enjoyed in return for giving to arts and culture.31 This entity would be similar to Arts and Business uK, or Americans for the Arts.


33


Optical Identity, Singapore Arts Festival 2007 © National Arts Council, photo by Kevin Yang.

BPatron of the Arts Award 2006 © National Arts Council

B da:ns Festival 2008. Photo courtesy of The

Esplanade Co. Ltd.

D Tribute to Zhou Xuan, Huayi – Chinese Festival of Arts 2008. Photo courtesy of The Esplanade Co. Ltd.

d.Strengthenadvocacy for arts andculture through research andcommunication

Ultimately, there needs to be strongeradvocacy for the arts in order to buildinterestingettinginvolved,whetherasapractitioner,apatron,orasaconsumer.MICAagencieswillstepupadvocacyofthe arts through the provision ofmoreresearchandinformationonthegrowthandpotentialof theartsscene,aswellas the benefits of being involved in orgivingtothearts.

Forastart,MICAwillreleaseanannualSingapore Cultural Statistics from2008–acomprehensivecompilationof cultural indicators and statisticsthatwillprovideamoreholisticpictureof the growth of the arts and culturesceneyearly.

In the long run, stronger advocacy isneedednot just from theGovernmentbut also from the private and peoplesectors. As such, we would like toencouragemoreinterestedindividuals,corporat ions, foundat ions andorganisations to step forward toinform the public as to how you aresupporting arts and culture, why youdo so, and how it has benefited yourorganisation,yourfamily,oryourlife.


34


Photo © Tim Griffith, Courtesy of The Esplanade Co. Ltd

CONClUSIONA nEW CHAPtEr oF groWtH

As Asia rises in prominence on theworld stage, Singapore’s future will bedetermined by how we position oureconomy, our society and our peoplealongside the rest of our neighboursand the rest of the world. Within thiscontext, culturecanplayamajor role indistinguishingus fromother cities in theregioninthecompetitionfortalent.Atthesametime,culturecanbringusclosertotherestofAsia,withwhichwesharedeeptiesofheritageandvaluesandacommonvisionforthefuture.

Closer to home, with growing diversity,culture can be an inclusive platformto bring all Singaporeans together,regardlessofrace,religion,ageorfinancialbackground.Itoffersourchildren,families,communities, and corporations ameansof relishing our past, findingmeaning inour present, and gaining confidence forthefuture.Italsooffersthosewhocan,anopportunity to leave a legacy behind forfuturegenerationsofSingaporeans.

RCPIIIrepresentsanewchapterofgrowthin Singapore’s cultural development.Singapore’s arts and cultural landscape will stand out for its distinctive multi-cultural flavour and strong culturalinstitutions, for its pool of professionalarts talents and businesses, and forbeing a community deeply involved indevelopingandpreservingtheirownartsandheritage.

MICA,NACandNHBinviteSingaporeanandresidentindividuals,corporationsandfoundations to partner the Governmentin bringing Singapore one step closer tobeingaDistinctiveGlobalCityforCultureand the Arts by 2015 – not only as anInternationalMagnetforTalent,butastheBestHome to a population proud to beSingaporean.

35

NAC-Exxon Mobil Concert in the Park © National Arts Council

3

3737

ANNEX AKEy CUltUrAl stAtistiCs

A) VibrancyoftheArtsScene ArtsactivitiesinSingaporequadrupledbetween1996and2007.

Onanyday,audiencesnowhaveanaverageof73activitiestochoosefrom,comparedtojust16activitiesin1996.

figure A-1: Total Arts Activities (performances & Exhibition days)

TotalActivities(Performances&ExhibitionDays) TotalPerformancesTotalExhibitionDays

Note that this statistic takes into account only performingarts events and visual arts exhibitions. It does not includeentertainment, pop-rock, film or media, or other culture/heritage-relatedevents.

B) NumberofArtsCompaniesandSocieties The number of arts-related companies and societies

registered with the Accounting and Corporate RegulatoryAuthority and Registry of Societies doubled from 1996 to

Source: National Arts council


TotalArtsSocieties TotalArtsCompanies TotalArtsSocieties&Companies

2007. Companies include both commercial (for-profit) andnon-profitcompanies.

3,270

1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 20070

5,000

10,000

15,000

20,000

25,000

30,000

year

6,094 6,625

9,94111,422 12,252 12,626

14,636

16,034

18,732 19,28521,394

26,626

4,000

6,1647,654

8,376 8,5159,459

11,38013,627 12,875

14,838

19,177

2,824 2,510 3,777 3,768 3,8764,111

5,177 4,6545,105 6,410 6,556

7,449

No.

of

Art

s A

ctiv

itie

s

figure A-2: Number of Arts companies and Societies

1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 20070

year

No.

of

Art

s S

ocie

ties

& c

ompa

nies

100

200

300

400

500

600

700

800

900

ANNEX ARenaissanceCityPlanIII

38

C) TicketedAttendanceatPerformingArtsEvents Ticketedattendanceatperformingartseventshasdoubled

since1996toabout1.5millionin2007.

D) Non-ticketedAttendanceatNACandEsplanadeevents

Non-ticketed attendance refers to the attendance at artseventsthatdonotrequireaticketforentry.Notethatthesharpjumpfrom2003to2004islargelyduetoanewvisualartsevent–SeniSingapore2004,whichwasorganisedbyNAC.

1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 20070

year

No.

of

Tick

eted

Att

enda

nce

200,000

400,000

600,000

800,000

1,000,000

1,600,000

1,200,000

1,400,000

749,600754,100

821,700914,000 857,900 940,200

1,084,200985,200

1,110,300

1,262,2001,290,300

1,494,900

figure A-3: Ticketed Attendance at performing Arts Events

figure A-4: Non-Ticketed Attendance for NAc and Esplanade activities

TicketedAttendance

Non-ticketedAttendance



Thiseventwas thepredecessor to theSingaporeArtShowandSingaporeBiennalewhichtakeplaceinalternateyears.

Notethatfiguresareonlyavailablefrom2003.

2003 2004 2005 2006 20070

year

Num

ber

of A

tten

dees

989,000

2,618,000

2,214,200

2,591,3002,706,400

500,000

1,000,000

1,500,000

2,000,000

2,500,000

3,000,000


39

Source: National Heritage Board

Source: National Heritage Board

E) VisitorshiptoNHBandnon-NHBMuseums NHB Museums are museums managed directly by NHB,

theseincludethethreenationalmuseums–NationalMuseum,Asian Civilisations Museum and Singapore Art Museum,as well as the Singapore Philatelic Museum, PeranakanMuseum,ReflectionsatBukitChanduandMemoriesatOldFord Factory. Non-NHBmuseums are private, communityorotherpublicsectormuseums(e.g.URA’sSingaporeCityMuseum)thattogetherwithNHBmuseums,aremarketedastheMuseumRoundtable.

Visitorshipfigures tomuseums in theMuseumRoundtablehave almost trebled in the last five years. NHBmuseumsexperienced a larger increase compared to non-NHBmuseums.Ingeneral,thisisapositivesignofgreaterinterest– from both Singaporeans and tourists – in themuseumsinSingaporeandanindicationofthemuseums’successinenhancingthevisitorexperience.


F) AttendancesatHeritageOutreachEvents From 2003 to 2007, attendance at NHB outreach events

showedarisingtrend(averageannualgrowthrateof31%).2007 saw an especially significant increase due to thegrowingpopularityoftheSingaporeHeritageFest(SHF)andHeritage-On-The-Move programmes. SHF 2007 attracted

more than 1.4 million participants alone. Outreach eventsconductedbytherestoftheNHBmuseums,institutionsanddivisionsmadeuptherestoftheattendance.


2003 2004 2005 2006 20070

year

No.

of

Visi

tors

figure A-5: Visitorship to NHB and Non-NHB Museums

Visitorship to Meseums (Breakdown by NHB and Non-NHB Museums)

NHBMuseums

3,351,750

500,000

1,000,000

1,500,000

2,000,000

2,500,000

3,000,000

3,500,000

1,855,630

2,925,580

1,337,0911,705,743

1,006,3741,311,785

822,334

1,497,288

481,688

Non-NHBMuseums

figure A-6: Attendance at Heritage outreach Events

Attendance at outreach Events

2003 2004 2005 2006 20070

year

No.

of

par

tici

pant

s

4,355,855

2,080,9572,121,158

1,497,288

500,000

1,000,000

1,500,000

2,000,000

2,500,000

3,000,000

3,500,000

4,000,000

4,500,000

2,929,708


40

Arts and cultural Sector Employment (1996 - 2006)

Total Nominal Value-added for Arts and cultural Sector (1996 - 2006)

G) EconomicContributionofArtsandCulturalSector

1996 1997 1998 1999 2000 2001 2002 20030

2004 2005 2006year

Em

ploy

men

t

15,000

16,000

17,000

18,000

19,000

22,000

20,000

21,000

16,285

17,00317,001

19,03319,445

20,088 20,16320,680

21,071

20,26520,767

1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 20060

year

Val

ue-a

dded

($)

400,000

500,000

600,000

700,000

800,000

1,100,000

900,000

1,000,000

557,286

600,503

483,864

616,040

665,876

751,800

807,862 818,052

943,216890,691

977,564

Source: department of Statistics. 2006 figures are preliminary.

Source: department of Statistics. 2006 figures are preliminary.

NotethatthefiguresabovearebasedontheArtsandCultureClusterDefinitiononthefacingpage.Thereisatwo-yearlagindataavailability.

figure A-7: Arts and cultural Sector Employment

figure A-8: Total Nominal Value-added for Arts and cultural Sector


41

Table A-9: Arts and culture cluster definition, based on Singapore Standard Industry classification (SSIc)

ssiC 2005 ssiC industry

visual Arts

Fine Art, Crafts & Collectibles

50351 Wholesaleofantiques,worksofart,handicrafts,collectiblesandgifts

51461 Retailsaleofantiques,worksofart,handicrafts,collectiblesandgifts

Photography

50391 Wholesaleofopticalandphotographicequipmentandsupplies

54182 Retailsaleofcamerasandotherphotographicgoods

76211 Photofinishingservices

76219 Photographicactivitiesnec

PerformingArts

LivePerformingArts

78993 Agentsforartistes,athletes,modelsandotherperformers

80402 MusicandDancingSchools

90101 Theatricalproducersexceptmotionpicture

90102 Theatresandconcerthalls

90103 Operas,wayang&puppetshows

90104 Orchestras&dancebands

90109 Dramaticarts,musicandotherartsactivitiesnec(scenery,lighting,stagemakeupandotherequipmentservices)

recorded Music

50342 Wholesaleofmusicalinstrumentsandscores

50343 Wholesaleofrecordalbums,cassettetapes,laserdiscsandcompactdiscs(includingVCDs,DVDs)

51452 Retailsaleofmusicalinstrumentsandscores

51453 Retailsaleofrecordalbums,cassettetapes,laserdiscsandcompactdiscs(includingVCDs,DVDs)

61300 Soundrecordingproductionanddistribution

literary Arts

BookPublishingandSales

50374 Wholesaleofbooksandmagazines

51483 Retailsaleofbooks,magazinesandstationery(includingnewsvendors)

60011 Publishingofbooks,brochures,musicalbooks&otherpublications

continue >


42

H) AverageAnnualRecurrentFundingforArtsandCultureFY2003-2007

MICA’saverageannualrecurrentfundingforartsandcultureacross 2003-2007 was about $114million. This does notinclude expenditure on capital development. Amajority ofthis goes towards funding the operational budgets of NACandNHB.

Beyondstaffcostsandoverheads(forexample,thecostofmaintainingandoperatingmuseums),thebiggestproportionoftotalfundinggoestowardsgrants,artshousingandotherformsofdirectfinancialassistancetowardsartsorganisations.Note that the funding proportion towards staff costs and

figure A-9: distribution of Average Annual recurrent funding (%) by recipient Agency (fy 2003-2007)

figure A-10: distribution of Average Annual recurrent funding (%) by Area (fy 2003-2007)

Singapore Symphony orchestraand Singapore chinese orchestra

9%

The Esplanade: Theatres by the Bay

15%

The National Heritage Board

43%

NAc Arts Events, Audience development

and outreach5%

NHB Heritage outreach and

community Events4%

finance Assistance to Artists and Arts

organisations34%

Manpower and overheads (eg. utilities, museum

maintenance, rental, etc)43%

overheadsisanupper-boundestimateandislikelytocontainotheritems(e.g.marketingandprogrammingcostsforeventsandexhibitions)forwhichMICAisunabletobreakdownintoafinerresolution.

The average annual funding from RCP I and II acrossFY2003-2007wasabout$12million.ThisisembeddedintotheoperatingbudgetsofNACandNHB,withNACreceivingabout $8 million and NHB $4 million. RCP funding wentdirectly into financial assistance to arts groups, as well asNACandNHBprogrammes.

Source: Ministry of Information, communications and the Arts Source: Ministry of Information, communications and the Arts

The National Arts council

33%

Museum programmes & Exhibitions

14%

ssiC 2005 ssiC industry

CulturalHeritage

Museums,GalleriesandHeritage

90211 Museums

90212 Artsgalleries

90219 Museumsactivities&preservationofhistoricalsites&buildingsnec

other Cultural Activities

90291 CulturalVillage

90299 Otherculturalactivities,nec

91992 ClubsAndSocieties(IncludingScouts/GirlGuidesAssociations,BookClubsAndPhoto,Music,ArtAndCraftClubs)

AlsoclassifiedunderMediaSector

ANNEX BRenaissanceCityPlanIII

43

Someofthekeychallengesidentifiedbythestudyinclude:

a) Theperformingartshavemadethemostprogress.Progressin the visual arts has been patchy. The literary arts sceneremainsveryweak.

b) Audienceshavegrown.Butaudiencedevelopmenthasnotkeptpacewiththegrowthinthenumberofartsgroupsandevents.

c) Themedia’s role in the arts and scholarship in the arts isunder-developedinSingapore.

d) Artsgroups(includedinthedefinitionofthepeoplesectorinthisstudy)oftenunder-investinmarketing,fund-raisingandotherareasnotconsideredtobepartofartisticdevelopment.At the same time, companies, individuals and foundations(whicharedefinedaspartoftheprivatesectorinthisstudy)donotgiveenoughcomparedtothelevelsofsponsorshipandphilanthropyinothercountries.Thereisalsolittlepartnershipbetween the people and private sectors beyond straightgivingofcashorin-kinddonations.Bothsidesneedgreaterknow-why,know-what,know-howandknow-whoinformingpartnerships.

e) Artists here receive less funding in the form of grants percapita from the Government than elsewhere. Governmentshareoffundingcomparedwiththeprivatesector’siscloserto European countries than to the US. Direct governmentfundingintheUSisrelativelylow,butthereisheavyfundingthrough tax forgone from incentives given to companies,individualsandfoundations.TheUSGovernmentisgivingasmuchtotheartsasitsEuropeancounterparts,butbyusingtax breaks rather than direct grants. Private funding cansupplementbutnotreplacegovernmentfunding.

ANNEX BsUMMAry oF stUDiEs ConDUCtED Aspartof theplanningprocess forRenaissanceCity III,MICAcommissionedtwostudiestobetterunderstandtheneedsofourvarious stakeholders – the arts community, the general publicandthepeopleandprivatesectors–aswellastoexaminewhatsomeofthecriticalgapswereinartsandculturaldevelopment.This annex summarises someof thekeyoutcomes from thesetwostudies.

A) Rolesofthe3PsintheDevelopmentofArtsandCulture

BytheInstituteofPolicyStudies,March2006

Theobjectiveofthisstudywastotrackandanalysetherolesofthepublic,peopleandprivatesectors intheperforming,visualandliteraryartsandtorecommendwaystofosterpartnershipsbetweenthem.ThestudynotedthattheGovernmenthasupuntilnowtakentheleadinmanyareastodevelopartsandculture.Butfuturegrowthwilldependonthepeopleandtheprivatesectorsseizingtheinitiativeandworkingmorecloselytogether.

Focusgroupsessionsandindividualinterviewswereconductedwithvariousstakeholdergroupsforartsandculture:

TableB-1:Categoriesofintervieweesandfocusgroupsessions

Category Numberofparticipants total

Focus Group Sessions

97

ArtistsandGalleries 13

CriticsandReviewers 7

DanceandTheatreGroups 8

Writers,PublishersandBookstores

9

Individual Interviews

ArtGalleries 7

ArtsOrganisersandIntermediaries 5

ArtsPractitioners 14

SponsorsandSupporters 10

CivilService 12

GrassrootsArtsOrganisations 2

IndependentMuseums 2

PublicRelationsProfessionals 2

Publishers 6


44

Somekeyrecommendationsproposedbythestudyinclude:

a) FocusingNAC’sroleonstrategicplanningandpolicy-making,graduallydevolvingitsorganisingrolestotheprivatesectororartsgroups/artscentres

b) Creatingnewmeansof fundingsupport to spurcreationofspecific typesof content (suchasSingaporeanworks)andtodomoretopluggapsinartsgroups’capabilities(suchasmarketingandadvertising)

c) Setting up a unit to promote arts and private-sectorpartnerships, providing match-making services, a culturalcommonswithdirectoryandresearchinformation,facilitation,trainingandconsultationonpartnerships

d) Leveragingonexistinginfrastructurebyencouragingtheuseofcommunitycentres,religiouspremises,welfareorganisationpremises, libraries, town council facilities and schools forthe arts and enablepartnerships between arts groups andowners/managersofthesefacilitiesandthecommunitiesthattheyarein.

e) Developing future audiences by puttingmore emphasis ontheartsineducationandartseducationinschools

f) Increasingtaxincentives,especiallyfordonationsin-kindandotherkindsofgiving

g) Promoting the growth of the visual arts by: i) organisingexhibitions of corporate art collections, ii) facilitatingmerchandising using works of local artists, iii) promotingthebuyinganddisplayofSingaporeartandencourage theprivate sector tonurture,not justpaintingsandsculptures,butalsocontemporaryvisualart formssuchas installationsandperformanceartandiv)doingmoretopromotethebestSingaporeartistsinternationally

h)Promoting thegrowthof literary artsby: i) startingcreativewriting programmes in schools and universities, ii) fundingoverseasmarket promotion for local fiction andpublishers,with tax breaks for overseas income, iii) encouraging thedevelopment of genre writing and markets, iv) includingmore local books in the English language as well asliterature curricula and v) starting a literary journal orencouragingthemediaortertiaryinstitutionstostartliterary pages/publications.

B)CommunityCulturalEngagementandtheValueofArtsandCultureinSingapore

ProfessorLilyKong DepartmentofGeography,NationalUniversityofSingapore,

January2008

This study was targeted at the general public and sought tounderstandwhatweretheneedsandexpectationsoftheSingaporepublic forculturalactivities,whatwere thepotentialbarriers toparticipation and engagement andhow thequality of arts andculturalactivities,programmesandcommunityinvolvementcanbeimprovedinasustainablemanneroverthelongterm.

Aspartofthestudy,aseriesofinterviewsandfocusgroupswereconductedfromJulytoSeptember2007.Atotalof300peoplewere interviewed, divided into those based in Singapore, andthoseoutsideofSingapore:


45

Singapore-basedpopulation

Category Sub-category Numberofparticipants Sub-total total

Educational Students 4160

242

Educationalinstitutions Teachersandstaff 19

Communitygroups/organisations

PA/CCMC/CCC/RC/NC/Onepeople 21

51

CDCs 9

NParks 3

Ethnicself-helpgroups 16

Ethnically-basedculturalorganisations 2

Interestgroups(non-arts/culture)

Environmentalassociations 7

40

Welfareassociations 6

Women’sorganisations 4

Expatriate/internationalassociations 10

Alumniassociations 13

corporate philanthropists and patrons of the Arts/Heritage 14

Arts&CultureCommunity

Performingarts 26

77

Visualarts 7

Heritage 14

Media 19

Design 11

Non-Singapore-basedpopulation

Tourists 21

58Short-termmigrants 20

Permanentmigrants 17

total: 300

Table B-2: categories of interviewees and focus groups


46

• Anotherthreadwasthelackofaffordableworkspacesforartists– participants suggested that schools open theirworkroomsand studios in the evenings and on weekends. While thepresence of arts villages such as atMiddleRoad andTelokKurauwerenoted,participantsfromtheartscommunitysaidtheserents–atcommercialrates–weretoohighforartists.

Comments on Strategies to Increase CommunityParticipationThefollowingweresuggestionsmadefor increasedcommunityparticipation:

• Broad-based:More performances such as cultural festivals,food festivals, open-air concerts, free events, children’sactivities,fleaandartmarkets,traditionalartseventssuchaswayangshows,andotheractivitieswithaSingaporeflavour.

• Heartlands: Bring the arts to the masses – at communitycentres, schools, shopping malls and hawker centres. Thiswouldmakeitmoreconvenientanddislodgetheviewthattheartsareelitistandexpensive.Morefree,open-aireventswouldalsoencourageattendance,especiallybyfamilies.

• Publicity: Make information available on mainstreaminformationchannels,e.g.inamagazineoronawebsiteinanongoingmanner.

• Arts education: Improve Singapore’s tertiary arts educationbygiving itgreaterdepth,suchasby introducingarthistorycourses. Better training for arts teachers in schools wasalsoproposed.

• Local productions: More focus should be placed onsmaller home-grown productions instead of importing large,foreignones.

• Feedback:Participantsfromtheinterestgroupsfelt thatartsandculturalneedschangeovertimebutthatthereisnoavenuefornewideastobeexplored.ThusmoreavenuesforfeedbackandcontributionofideastotheGovernmentareneeded.

• Funding:Providemore funding, amore transparent fundingprocessandbetterconcessionsforthedisadvantaged,aspriceandcostsseemedtobeabigbarrierforgreaterinvolvementinthearts.

• Heritage and conservation:Conserve oldbuildings andpaygreaterattentiontoheritage.

• Supportchain:Developanarts“ecosystem”ofartsfacilitators,managersandjournaliststoensuremoresupportfortheartscommunity.

CommentsonSingapore’sArtsandCultureSceneAvailability.ManynotedthattheavailabilityofartsandcultureinSingaporehasimprovedandincreasedovertheyears,butthatthemajorityofeventsareticketed“highart”performances.

Missing Dimensions. The following were highlighted as somemissingdimensionsinthelocalartsscene:

• Local arts:Manyintervieweesacrosstheeightgroupsspokeaboutthelackoforiginallocalarts.

• Leadership:Oneparticipantfeltthatamajormissingdimensionis oneof leadership – that is, the arts sector lacks a strongorganisationalstructureaswellasexperiencedandqualifiedleadership.

• diversity:Thosefromtheartsandculturecommunityandsomeexpatriates noted the lack of non-mainstream sub-cultures,andalsothelackofindependentfilms,literature,parodiesandsatires,publicartandinnovativearchitecture,whichtheyfeltarelargelyduetotheGovernment’sstrictcensorship.

ComparisonwithDifferentCountries.Onlytheintervieweesintheshort-termandpermanentmigrantsgroupswereaskedtocompareSingaporetoothercountries,giventheirdualexperiences.ItwasgenerallyagreedthatSingapore’sartsscenedoesnotcomparetothatofcitiessuchasLondon,LasVegasandTorontointermsofrange,quality,vibrancyanddiversity.However,manypermanentmigrantssaidtheydidnotknowSingapore’sscenewellenoughtobeabletoadequatelycompare.Whiletherestoftheinterviewedgroupswerenotaskedspecificallyaboutothercountries,manyintervieweesnonetheless spokeabout thearts scenes inothercountriessuchasJapan,ChinaandGermany.Theynoted thatSingapore’sshorthistoryasanationcomparedtothesecountriesmeans that ithashad far less time tobuild itsartssceneandsupport.

AccessandSpaces.Manyparticipantsfeltthattherearesufficientarts spaces and that Singaporeans do have ample access,although it was noted that those from low-income families aswellaspeoplewithspecialneedshaveproblemsaccessingartsandculture,andconcessionsareneededtoencouragethemtoattendsuchevents.Greateraccessibilitysuchasrampsandliftswerealsosuggested.

Nevertheless,itwasnotedthatavarietyofspaceswasneeded:

• Onecriticismwas the lack of smaller venues, suchas for a500-strong audience, as there is a vacuum between theEsplanadeandthecommunitytheatres

• Forthevisualarts,theinadequatesizeoftheSingaporeArtsMuseumwasnoted,butparticipantswereexcitedabout theplanstoturnSupremeCourtandCityHallintoanartgallery.

ANNEX cRenaissanceCityPlanIII

47

ANNEX CPriority Arts and Heritage Business, Technical andAppliedCapabilities

The following is a list of critical arts and heritage business,technical and applied capabilities needed to support RCPIII. Standard Industry or occupational codes are listed whereapplicable.Trainingandskillsupgradingschemeswillbetargetedatbuildingtheseprioritycapabilities.

business• Arts/MuseumManagement(SSICCodes:90212,90109)

• CommercialArtGalleries(SSICCode:90212)

• ArtIPandLegalContracting(contributestoSSICCode:76299)

• ArtistManagement(SSICCode:78993)

• Festival(Events)Management(contributestoSSICCode:78923)

• CulturalTourismManagement(contributestoSSICCode:78211)

• BooksandMusicPublishing(SSICCode:60011,61300)

• ArtConsultancy

technical• ArtHistory,Art/HeritageResearch

• Curation(SSOCCode:29112)

• Art/HeritageConservation(SSOC:29113)

• Technicalproductionforstage(SSICCode:90109)

• ExhibitionDesign(SSICCode:90212)

• ITSpecialists

Applied • CommunityArts

• ArtsEducation(SSICCode:80402)

• ArtsTherapy


ANNEX DCurrentGovernmentIncentiveSchemestoSupportPrivateGivingtoArtsandCulture

Table d-1: overview of Government Incentive Schemes to Support private Giving to Arts and culture

Scheme incentive

ApprovedMuseumScheme(AMS)

IntroducedinJan2003,ManagedbyNHB

Donors who make artefact donations to an approved museum* enjoy double taxdeduction.

PublicArtTaxIncentiveScheme(PATIS)

FormerlyknownasPublicSculptureDonationSchemeintroducedin1988,managedbyNHB.

Donations,commissions,displayandmaintenanceofpublicartbybothpublicandprivateorganizationsandindividualsenjoydoubletaxdeductionoffthevalueoftheartwork,orcostsofinstallationormaintenance.

ArtIncentiveScheme

SetupbyURA,supportedbyNHB.

Developers enjoy additional Gross Floor Area (GFA) above the maximum allowable under theMasterPlan 2003, up to a cap of 2%of the total permissibleGFA for thedevelopmentif:

• ApermanentartinstallationisprovidedinanewdevelopmentwithintheCentralArea.

• Artworksintegratedwithindevelopments.SubjecttotheappraisalandendorsementofNHB’sPublicArtAppraisalCommittee(PAAC)andtheapprovalofURA.

NationalHeritageFund(NHF)

IntroducedinAug2003,ManagedbyNHB.

DonationstotheNHBMuseumsenjoydoubletaxdeduction.**

Patron of the Arts Award

ManagedbyNAC

AnnualawardtoindividualsororganisationswhichsponsorartsprojectswithasignificantimpactonartisticdevelopmentinSingapore,includingartsactivitiesheldatthegrassrootslevel. Contributions paid directly or indirectly to arts organisations*** will also beconsidered.

PatronofHeritageAwards

ManagedbyNHB

Annual award to individuals or organisationswhich contribute cash, in-kind, artworks,etc.toprivateornon-profitinstitutionswhichpromoteandconserveaspectsofheritagerelatingtoourarchitecture,community,societyandculture.

ANNEX d

* To date, the eight approved museums under AMS include the National Library Board (NLB) Museums, National university of Singapore (NuS) Museums, NLB and the Singapore Management university (SMu).** The national museums, such as the Asian civilisations Museum and Singapore Art Museum maintain a policy of granting naming rights to selected donors on a case-by-case basis. *** donations to arts companies that are registered as institutions of public character also enjoy double tax deductions.

© Copyright 2008, Ministry of Information, Communications and the Arts

No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the publisher. All rights reserved.

All photos in this publication are copyrighted. Permission is required for reproduction.

ISBN: 978-981-08-1696-4

Published ByMinistry of Information, Communications and the Arts140 Hill Street, #02-02 MICA Building Singapore 179369Tel: (65) 6270 7988Fax: (65) 6837 9480Website: http://www.mica.gov.sg

Editorial TeamArts and Heritage Development DivisionMinistry of Information, Communications and the Arts

Printed and bound in Singapore.

Designed and produced by SiliconPlus Communications Pte Ltd

First Edition 2008

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