Island Renaissance for Singapore
Millions earmarked to aid in cultural metamorphosis
"We want to position Singapore as a key city in Asia and as one of the cultural centers in the world," said Minister for Information and the Arts Lee Yock Suan when he presented the Renaissance City Report in March.
The report commits the government to funnel S$50 million ($29 million) into a variety of cultural programs over the next five years in a bid to establish Singapore as a global arts city, comparable with Hong Kong; Glasgow, Scotland; and Melbourne, Australia.
There are some pragmatic motives behind this effort to develop an arts and cultural "renaissance" economy.
"The spinoffs from the arts are significant for tourism and the economy," says Christine Khor, assistant director of arts and entertainment with the Singapore Tourism Board.
Khor cites a 1998 study that found "for every dollar spent on the arts, another $1.80 is generated elsewhere in a related industry, for example food and beverage, transport and hospitality."
At the local level, the government has earmarked $2.9 million to support up to eight major arts companies in an effort to turn them into "flagship companies."
Some local companies, having lacked financial support for many years, probably will need time to develop into familiar names that can draw a significant number of foreign visitors.
Others, however, are making their mark internationally. The Singapore Repertory Theater is staging "They're Playing Our Song" in the Philippine city of Manila for two months.
The SRT also is casting "The Theory of Everything," based on a script from its playwriting competition; it's slated to tour Los Angeles in November.
The STB is encouraging international impresarios to use Singapore as an Asian launch pad for major arts events. One of the region's most active producers is Intl. Management Group, which maintains full-time offices in Singapore and Hong Kong. In the past 12 months, IMG has scored major success in both cities with "Chicago," "Stomp" and short seasons of "The Complete Works of Shakespeare," plus a slightly less well-attended "Tap Dogs."
IMG arts and entertainment director for Australasia and Asia James Cundall, who was an indie producer based in Hong Kong before he joined IMG, cautions, "In Asia you are dealing with new, young audiences. You can't make the same assumptions about their tastes as you can about audiences in the U.S. or Australia."
In association with Aussie entrepreneur Garry Van Egmond, IMG is staging "Riverdance" in Singapore (14 perfs) and Hong Kong (nine shows) this fall.
In March, Cundall plans to present a spring arts carnival in Singapore, comprising three weeks of "Buddy: the Musical" (co-produced with Jon Nicholls), two weeks of "Slava's Snowshow" and one week of Spain import "Carmen" (a co-production with Andrew Kay).
One recent arrival in Singapore is Shaksfin, an arts consultancy and production company that presented two world preems at last month's Singapore Arts Festival.
"Digital Amplified Video Engine D.A.V.E.", by multimedia artist Klaus Obermaier, was performed by Chris Haring as a full-length production for the first time (individual segments had been performed in Europe before). The second show was "Hot Water," by experimental theater director Robert Wilson, which was commissioned by the fest.
Shireen Seow, Shaksfin's Asia director, is not daunted by stats showing only 3% of audiences for arts events in Singapore are tourists, as opposed to 30% of the visitors to big museum exhibitions. She's sure Shaksfin's productions will draw a regional crowd.
The National Arts Council, which organizes the arts festival, will be one group to receive an additional $865,000 per annum to make the festival a leading one in Asia.
One potent symbol of Singapore's cultural aspirations is Esplanade: Theaters on the Bay, which will be the nation's premier performing arts center when it opens in October 2002.
It's hoped that the $346 million showpiece will establish the city as an international arts hub, attracting performers and visitors to its 18,000-seat concert hall, 2,000-seat theater and smaller performing spaces.
Geoff Street, the Esplanade's Australian director of programming, dispels the common perception that the venues will be dominated by big events aimed at tourists.
Street insists the focus will be on Singaporeans, noting, "If tourists come, and I'm sure they will because what we're doing will entice them, it's a bonus."
Another handsome addition to the city's performing venues, the University Cultural Center, is due to bow Sept. 5. Comprising a 1,700-seat lyric theater, a 550-seat theater, a dance space and an amphitheater, it will have a ready-made market in the students on campus as well as appealing to regular theatergoers, according to spokeswoman Mary Loh.
The center's initial programming is not set, but Loh hints it will feature a blend of locally mounted musicals and dramas from companies such as the SRT and imported shows.
(Don Groves contributed to this report.)
