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ANNUAL REPORT FY2017/2018 主席献词 01 Chairman’s Message 03 总裁献词 目 CEO’s Message 05 赞助人和董事会 愿景 录 Patron & Board of Directors 多元种族 .和谐社会 09 董事委员会 华族文化 .本土丰彩 CONTENTS Board Committees 11 年度活动 VISION Highlights of the Year A vibrant Singapore Chinese culture, 47 我们的设施 rooted in a cohesive, multi-racial society Our Facilities 捐款人 55 Our Donors 宗旨 57 我们的团队 发展本土华族文化，承先启后； Our Team 开 展 多 元 文 化 交 流 ，促 进 社 会 和 谐 财务摘要 59 Financial Highlights MISSION 机构信息 Nurture Singapore Chinese culture 61 Corporate Information and enhance social harmony 01 02 2017/2018年对我们来说是个具有重要 为 了 注 入 更 多 活 力 予 本 地 华 族 文 化 ，中 We look back on a most memorable year in 2017/2018, the Duanwu Festival, Mid-Autumn under the Stars for the Mid- 主席献词 意义的一年。2017年5月19日 ，新 加 坡 心 开 幕 后 推 出 的《 新 •创 艺 》特 展 ，汇 集 key highlight being the official opening of the Singapore Autumn Festival; and held the Spring Reception, as well as 华族文化中心在万众期待中由李显龙 了19名本地艺术家共21件作品，并通过 Chinese Cultural Centre (SCCC) on 19 May 2017, graced our first Lunar New Year Carnival & Concert to usher in the CHAIRMAN’S 总理主持开幕。这栋位于珊顿道金融中 这一批年轻艺术家的视角，重新诠释新 by the presence of our Patron, Prime Minister Lee Hsien Year of the Dog. These festive events were well-attended by 心的11层崭新大楼，为本地的文化团体 加坡华族文化的意涵。 Loong. The much-anticipated opening was held with great invited guests and members of the community who enjoyed fanfare. This new 11-storey building located in the heart the performances and special activities. MessaGE 提供优质的演出场地与设施，也是我国 of the Shenton Way financial district provides state-of- 我 们 也 为 本 地 音 乐 人 打 造 平 台 ，推 出 弘扬新加坡华族文化的新地标。公众将 the-art facilities for the local performing arts and cultural Throughout the year, the SCCC initiated several new events. 能在此欣赏本地艺术与文化团体所呈 《 周 5 音 乐 站 》。自 2018年1月 起 ，中 community. More importantly, it epitomises the sustained Foremost was the “Creativity in Pulses” Special Exhibition, 献的精彩节目，并进一步认识新加坡华 心在每个月的第一和第三个星期五邀 efforts to make our distinct Chinese cultural heritage also held in conjunction with our official opening. The ANNUAL REPORT FY2017/2018 族文化。 请本地歌手为商业区的上班族带来免 accessible and appealing to members of the public from refreshingly new exhibition showcased 21 artworks by 19 ANNUAL REPORT FY2017/2018 费的音乐表演，其中包括流行歌曲、新 all age groups, and to celebrate the best talents in local contemporary local artists; it offered creative interpretations 年报 配合中心的开幕，我们举办了为期八 谣、电视剧主题曲、昔日经典曲目等，无 Chinese arts and culture. of appreciating and understanding the Singapore Chinese 年报 天的首届《华彩》文化节。精彩节目包 不让观众听出耳油。 culture from the perspectives of filmmakers, product 括文化工作坊、讲座以及由本地文艺 In conjunction with the opening, we launched our inaugural designers, graphic artists, photographers and installation Cultural Extravaganza on 20 May 2017. Spanning over 8 artists. 团体所呈献的文化表演。开幕演出《起 2018年4月，中心迎来新一任总裁刘思 days, the cultural showcase featured a series of workshops, 伟 。日 后 他 将 带 领 团 队 继 续 努 力 ，开 展 航》巧妙地结合了音乐、灯光、立体全 talks, performances and programmes presented by local To create new platforms for the arts, we also started a new 息投影和多媒体元素，叫人耳目一新。 不同形式的活动与合作项目，推广我国 artistes, performers and practitioners from the arts and series named “TGIF Music Station” to enliven the Central 同 时 ，我 们 推 出《 回 程 667》电 影 ，由 获 活 力 多 彩 的 华 族 文 化 ，增 进 各 族 群 间 的 cultural sector. The spectacular opening show Voyage, Business District on every alternate Friday, starting from 奖无数的导演陈子谦监制，并邀请五位 相互理解。 was a multi-media musical and visual journey presented January 2018. We invited popular local singers to perform 年轻的本地导演制作5部短片，从年轻 by award-winning filmmaker Royston Tan, transporting xinyao tunes, pop classics and well-known theme songs 一代的视角探寻华族文化的根源。《华 我们将致力完成传承与发扬本土华族文 audiences to different dreamscapes through the skilful from local TV drama serials, enabling the audience to enjoy 彩》的另一亮点节目《Sing•浪 》演 唱 化的使命。在此感谢董事会、董事委员会 use of 3D projection mapping with holographic imagery. various genres of Chinese music. 会，由妆艺大游行艺术总监范东凯与知 和全体职员的付出和努力，也感谢政府、 Another key highlight of the Cultural Extravaganza was In April 2018, we welcomed Low Sze Wee into the SCCC 名音乐总监吴庆隆制作，汇集多位本地 各大机构与会馆团体的鼓励和支持。 the specially commissioned omnibus film 667 produced family as the new CEO, who will lead the team in developing 歌 手 ，为 超 过 3千名观众带来一首首耳 by Royston Tan. This impressive anthology of short films programmes and initiatives to further SCCC’s mission of 熟能详的新谣及本地创作。 中心日后将继续加深和本地学府、艺术 portrayed the works of five local young film directors nurturing a vibrant Singapore Chinese culture, rooted in a 团体以及文化机构等的合作，为本地各 exploring their cultural roots. The Cultural Extravaganza cohesive, multi-racial society. 中心也在2017年5月20日 颁 发 首 届“ 华 界人士推出高素质的节目与活动。 ended on a high note with our inaugural Sing•浪 concert 族文化贡献奖”，向本地文化耕耘者致 which attracted over 3,000 people. Co-curated by Chingay As we continue to strive to fulfil our vision and mission in 敬。我国相声推手韩劳达（个人奖）及 Parade artistic director Fan Dong Kai and renowned music meaningful ways, I would like to extend my appreciation 湘灵音乐社（团体奖）从新加坡文化、 director Goh Kheng Long, Sing•浪 concert featured xinyao to all who have made our work possible. My sincere 社区及青年部长傅海燕手中接获奖项， icons and current pop artistes who performed renditions of thanks go to SCCC board of directors, members of board favourite xinyao ballads and other popular well-loved songs committees, management and staff for their dedication and 表扬他们在推动本地华族文化事业上 from the 1980s to the present day. hard work, and all relevant government departments and 的杰出表现。 statutory boards, as well as clan organisations, foundations, Of equal significance was the inaugural Singapore Chinese institutions and individuals for their constant support. 配合华人传统节日，我们也策划了一系列 Cultural Contribution Award to honour local individuals 的庆祝活动，包括一年一度的《新春团 and organisations for making exemplary contributions to Moving forward, the SCCC is committed to step up our 拜》、《端午节嘉年华》和《中秋雅聚》。 蔡天宝 the Singapore Chinese culture. On 20 May 2017, Grace Fu, collaborations with schools, arts and cultural groups, 今年，我们也首次推出《春满狮城园游会 新加坡华族文化中心 Minister for Culture, Community and Youth, presented the community, organisations and individuals to present high 与演唱会》，与国人一起欢庆佳节。 董事会主席 awards to crosstalk veteran Han Lao Da for the individual quality programmes for everyone. category, and to Siong Leng Musical Association for the organisation category. Chua Thian Poh In addition, the SCCC continued to uphold Chinese tradition by celebrating major Chinese festivals in the year under Chairman review. We organised the Dragon Boat Carnival for the Singapore Chinese Cultural Centre 03 04 我加入新加坡华族文化中心后常被问 地艺术家和团体展现各别作品予公众 Since joining the Singapore Chinese Cultural Centre (SCCC), This then begs the next question. How do we ensure that 总裁献词 及，我对中心有何期许？ 的平台。我们将继续与艺术家和文艺 I have been often asked, ‘What are my hopes for SCCC?’ such important creative expressions can continue to be ANNUAL REPORT FY2017/2018 团体进行交流，展开更多合作项目，鼓 produced for the long term? How do we make art-making ANNUAL REPORT FY2017/2018 CEO’S 我 的 答 复 很 简 单 ，我 认 为 中 心 扮 演 一 励大家把这里当成自己的家。 My answer is quite simple. I see SCCC as a means to an sustainable in Singapore? How do we encourage our local end, and not the end itself. dancers, writers, painters, musicians and many others 年报 个启发的角色，激发我们进一步探索 年报 to continue to create? The truth is that artists need an MessaGE 自身的文化。 这就引出了下一个问题。我们如何确 SCCC is a means for us to know ourselves and our society. appreciative audience who can provide both financial and 保本土创作不断涌现？我们该如何让 As our society responds to internal and external forces, our moral support. In that regard, the young are a critical part of 中心是一个让我们认识自己和认识社 艺术事业永续发展？我们如何鼓励本 way of life will also evolve and transform over time. This way the arts and cultural eco-system. They represent the future 会的地方。社会受到内外因素的影响 地的舞蹈员、作家、画家、音乐家们持 of life, also known as culture, is expressed in the things we generation of arts supporters and consumers. SCCC would 而蜕变，我们的生活也会随之改变。 续创作？他们需要有一批观众给予精 do, say and create. Hence, if we hope to better understand like to play a part to nurture the growth of this key audience 文化是我们生活的一部分，体现在我 神上的鼓励和金钱上的支持。年轻人 who we are, and what Singapore is like as a society, then group. Therefore, SCCC needs to better understand the 们 日 常 所 做 、所 说 、所 创 造 的 事 物 。因 在这方面扮演着关键的角色，他们是 we need to go beyond the usual hard facts and figures. needs and motivations of this group. One key strategy is 此，如果我们想要知道自己是谁，新加 未来的观众和艺术支持者。因此，中心 Important national events and personalities, or statistics to use popular culture as an entry point to provoke the 坡是怎样的社会，那么我们就不能单 十分重视培养观众群，我们希望能更 about our population and economy can only provide part of curiosity and stimulate the interest of our young people to the picture. If we want a more nuanced understanding of think more deeply about their identity and the world they 以数据来定义自身与新加坡社会。诸 好地掌握观众的需求和兴趣。中心也 the richness and complexity of Singapore and Singaporean live in. If we are successful in this, our arts and cultural 如我国重大的历史事件、风云人物，又 以通俗文化作为切入点吸引年轻人并 identity, then we should refer to other sources by using all scene would have a bright future. 或是我国的经济实力、人口结构等讯 激 发 他 们 的 好 奇 心 ，去 探 索 自 身 文 化 our five senses of sight, hearing, taste, smell and touch. 息，这些都仅展示了岛国的某种面向。 与所处的环境。若我们在这点上做得 In the coming years, I look forward to working closely with my 若是我们要对身份认同的多元性和复 好 ，那 本 地 的 文 化 事 业 将 更 加 蓬 勃 。 If we wish to get a sense of what makes us Singaporean, colleagues and all stakeholders to help achieve a vital and 杂性有细致的了解，就必须通过人们 there are fewer better ways than to read a local poem, dynamic eco-system where artists, audiences and facilitators 的五个触感去探索。 我期待在未来的日子里，能与同事和 listen to a local song, watch a local film, eat a local dish or such as SCCC, can support and cherish one another.
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  • A Story of Singapore Art

    A Story of Singapore Art

    artcommune gallery proudly presents A Story of Singapore Art An art feast that captures a uniquely modern Singapore cross-fertilized by decades of East- West sensibility in fine art. A Brief Overview The story of Singapore art could be said to have first taken roots when the island flourished as a colonial port city under the British Empire. In addition to imported labourers from India and China, unrest and destitution brought on by civil conflicts and the great world wars culminated to a significant exodus of Chinese intellectuals (educators, scholars, writers and painters) and businessmen to Singapore in search of better work-life opportunities. By the early-20th century, Singapore (then still part of the Straits Settlements) was already a melting pot of diverse migrant traditions and cultures; the early Singapore art scene was naturally underpinned by these developments. During this period, most schools under the British Colonial system taught watercolour, charcoal and pastel lessons under its main art scheme while the more distinguished Chinese language-based schools such as Chinese High School often taught a combination of Western oil and Chinese ink paintings (in fact, a number of these Chinese art teachers were previously exposed to the Paris School of Art and classical Chinese painting during their art education in China in the 1920s). Furthermore, art societies including United Artists Malaysia as well as the Society of Chinese Artists were in place in as early as the 1930s, and the Nanyang Academy of Fine Arts (NAFA) was formally established by Chinese artist-educator Lim Hak Tai in 1938. To paint a simplified picture: the local art production in early Singapore may be broadly characterised into three veins – the traditional Chinese painting, the Nanyang style, and British watercolour style.
  • Nanyang Style - Singapore's Pioneer Art Movement

    Nanyang Style - Singapore's Pioneer Art Movement

    Jul 12, 2011 14:35 +08 Nanyang Style - Singapore's Pioneer Art Movement Singapore was known as Nanyang in the late 18th century. Representing South Seas in Chinese, Nanyang was a goldmine for many Chinese immigrants. Art was denied progression during this period of colonial rule. The first nationwide art class was also implemented reluctantly to comply with British examination standards. So what is the Nanyang style? Who are the main artists? This article will attempt to address these questions. According to the definition from Singapore Art Museum, Nanyang style integrates teachings from Western schools of Paris and Chinese painting traditions, depicting local or Southeast Asian subject matters. Most Nanyangpaintings are either Chinese ink or oil on canvas. There was a great influx of Chinese immigrants and the emergence of Nanyang style was in response to the dichotomy of Chinese nationalism and Southeast Asian regionalism. Colonial rule restricted art development and it was only in the 19th century when the first art society started – The Amateur Drawing Association. While in Kuala Lumpur, United Artists Malaysia emerged. These societies imparted mainly Chinese influences in the Nanyang style. As global economies were recovering from Great Depression, artists of the Nanyang style were benefiting from extra exposure from art trends in Europe and China. The establishment of Society of Chinese Artists in 1935 had members who were not only alumni of Chinese art academies but were also avid fans of western art. The need to craft a unique identity was stronger after World War II, amidst growing anti-colonial sentiments. Founding artists wanted to portray Nanyang culture in a visually unique flavour.
  • The Journey of Minds

    The Journey of Minds

    The Journey of Minds: Chinese Modernity and Chinese Ink-Painting in Singapore Woo Fook Wah (Dr.) March 2019 Abstract This essay traces Singapore Modern Chinese-Ink Painting back to the period when China was in search for a Modernity that was relevant to them. While the Chinese Intellectual went about searching for a Modernity relevant for China, the Journey of Minds into Singapore furthered the art scene here, resulting in Singapore being an art centre in Chinese Modern Art in the region. Artists in Singapore analysed the Finds of Chinese Modernity and continued the journey on a different trajectory. The development of a Chinese-Ink Painting Style that eventually took a path influenced by the confluence of thinking between the West and the then evolving Chinese modernity. This resulted in an underlying thread of ideas possibly laying the foundation of a Singapore identity in a portfolio of unique ways of creating Chinese-Ink paintings. 2 Content 1. Introduction ……………………………………………………….. 8 2. In Search of Modernity: The New Culture Movement …………. 14 A. The Motivation Behind the New Culture Movement B. In Search of Modernity C. Western Painting Concepts and Chinese Visual Art D. Traditional Chinese-Ink Painting Concept 3. The Journey of Minds and Nanyang ………………………………………….. 37 A. Arrival into Nanyang B. Bringing Modernity to Nanyang C. The Art of Nanyang 3 4. Singapore Chinese-Ink Painting – Beyond Nanyang …………………… 62 A. The Artworks of Lim TZe Peng (林⼦平) B. The Artworks of Tan Oe Pang (陈有炳) C. The Artworks of Terence Teo Chin Keong (赵振强) 5. Conclusion …………………………………………………………………………… 87 Bibliography …………………………………………………………………………………….. 94 List of Illustrations …………………………………………………………………………….