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Arts And Culture Arts And Culture 7 December 2017

7 December 2017 About the Culture Academy Singapore CONTENT The Culture Academy Singapore was established in 2015 by the Ministry of Culture, Community and Youth to groom the next generation of cultural leaders in the public sector. Guided by its vision to be a centre of excellence for the development of culture professionals and administrators, Message from Director, Culture Academy 2 the Culture Academy Singapore’s work spans three areas: Education and Capability Development, Research and Scholarship and Thought Leadership. Preface 3 The Culture Academy Singapore also provides professional development workshops, public lectures and publishes research articles through its journal, Cultural Connections, to nurture thought leaders Opening Address by Minister for Culture, 6 in Singapore’s cultural scene. Community and Youth One of the Academy’s popular offerings is its annual thought leadership conference which provides a common space for cultural leaders to gather and exchange ideas and best practices, and to incubate new ideas. It also offers networking opportunities and platforms for collaborative ideas-sharing. Responsibilities and Opportunities for Arts and 9 Cultural Institutions in a Multicultural, Creative City Notes This publication is a compilation of the papers presented at the second international conference Douglas Gautier organised by the Culture Academy Singapore, which was held in Singapore on 7 December 2017 at the National Museum of Singapore. Is There Such a Thing as Arts and Culturally led 16 The views expressed in the publication are solely those of the authors and contributors, and do not Economic Renewal? in any way represent the views of the National Heritage Board or the Singapore Government. Dr Rebecca Coates Editor-in-Chief: Thangamma Karthigesu Editor: Trimiy LLP Reviving and Revitalising a UNESCO World Heritage City 24 Editorial Assistant: Geraldine Soh & Nur Hummairah Design: Phoenix Design Pte. Ltd. Joe Sidek Printer: Phoenix Design Pte. Ltd. Distributed by the Culture Academy Singapore Published in June 2019 by Culture Academy Singapore, Anchors and Bridges: The Work of the Singapore National 37 61 Stamford Road #02-08 Stamford Court Singapore 178892 Arts Council in Cultural Diversity © 2019 Kenneth Kwok National Heritage Board. All rights reserved.

National Heritage Board shall not be held liable for any damages, disputes, loss, injury or The Artist’s Role in Society 44 inconvenience arising in connection with the contents of this publication. Jumaldi Alfi

No part of this publication 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 The Catalytic Effect of Creative Place-making 53 prior written permission from Culture Academy Singapore, a division of National Heritage Board, which is supported by the Ministry of Culture, Community and Youth. Adib Jalal

ISBN 978-981-14-1438-1

Organised By: Supported By: MESSAGE FROM DIRECTOR, PREFACE CULTURE ACADEMY

Dr Kenson Kwok This publication is a compilation of the papers This conference would not have been Board Member, National Gallery Singapore and that were presented at the Culture Academy successful and thought provoking without Singapore’s Conference on “Reviving and the support of many people. We would like Founding Director, Asian Civilisations Museum Revitalising Cities: The Role of Arts and to thank our partners, The British Council Culture” held on 7th December 2017. (Singapore) and the University of Melbourne. We are also grateful to our Culture Academy Arts and Culture provide us with many Steering Committee members without whose therapeutic and intangible benefits. Very advice and support this event would not have often, we do not realise that they form our been possible. We also thank the Ministry of cultural DNA and that they are social levellers Culture, Community and Youth (MCCY) and This international conference discussed the role Multi-Disciplinarity – understood by everyone and appreciated by our sister agencies within the MCCY family for of arts and culture in the revitalisation of cities, anyone regardless of their socio-economic or their strong support and guidance. how arts and culture can breathe new life into The diverse perspectives brought to the educational background. familiar environments and create liveable places conference by the speakers underlined the Our thanks also to our Keynote Speaker, Mr for citizens and communities. importance of a multi-disciplinary and multi- Arts and culture have always been a simple and Douglas Gautier, CEO and Artistic Director dimensional approach to any revitalisation effective way of telling and remembering the of the Adelaide Festival Centre and all our The speakers ranged from Singapore’s culture programme. Many different kinds of skills are stories of an individual, his or her family or speakers and moderators, local and from minister, arts festival directors from Australia needed to revitalise spaces, places and cities, families, and even the shared memories of a overseas who readily accepted our invitation to and Malaysia, an Australian museum director, an and through that process – as pointed out by community or nation. Arts and culture provide be part of this conference. assistant chief executive of Singapore’s National Ms Grace Fu, Singapore’s Minister for Culture, the “heartbeat” that brings people from diverse Arts Council, a contemporary artist from Community and Youth– to build communities. backgrounds together as well as tell us more Finally, our thanks to Dr Kenson Kwok, Board Indonesia, and a Singapore architect/place- Arts practitioners, policy makers, sources of about who we are as an individual, community Member, National Gallery Singapore and maker. The case studies ranged in scale from funding support, social scientists and activists, and a nation. Most importantly, they create Founding Director, Asian Civilisations Museum, small interventions to the urban scape and pop- all have a part to play. liveable and enduring spaces for people. who aptly rounded up the conference and also ups which have had the effect of incubators, to contributed the Preface for this publication. arts centres, annual arts festivals, a new museum People-Centred Approach, Listening To This is why the Culture Academy Singapore and cultural policy. The Community chose this theme; How arts and culture can be embraced to revive and revitalise cities and spaces. All the speakers were in agreement on the An important point made by several of the importance of urban revitalisation through speakers, and implicit in all the presentations, The many papers and roundtable discussions arts and culture as a building block for social was that any revitalisation proposal must start provided participants with much food for cohesion, place-identity (whether at the level of with the intended beneficiaries, the community thought and amongst the many takeaways the neighbourhood, the city or the nation), and of citizens. The community is a stakeholder that was the important sharing and discussion the promotion of civil society. needs to be engaged, and listening to the citizenry of new ideas that everyone could take back ensures that there are benefits for them and not to try out in their respective places of work. The key ingredients for a successful revitalisation only for elite consumers or those who need to More importantly, it also was a platform for programme are summarised below. show a return on cultural investment. Another networking and meeting new colleagues and interesting point that emerged was that listening for discussion of new collaborations on urban Thangamma Karthigesu (Ms) to communities can also be a way of deriving planning and rejuvenation of spaces. Director, Culture Academy Singapore content that will give the cultural offering a more distinctive local or even unique character.

2 3 Several speakers emphasised that the Retaining the original character and soul of Infrastructure Sustainability listening needs to take place not only pre- a place implementation, but on an on-going basis, The importance of good infrastructure came All of the above will contribute to sustainability. given that populations in many parts of the A recurrent concern in the papers and in for some differences in perspective. Well- Assistance and support, listening to what developed world are becoming increasingly discussions was that in the process of revitalising equipped performing spaces are certainly good the community wants and values, mediating diverse, with corresponding changes in values a space or area, the original character of an area to have. Yet the lack of such infrastructure between various stakeholders, promoting a and preferences, even in rural areas – like the and its community might be eroded or even need not be an impediment, as suggested by the sense of community ownership, encouraging Shepparton example - that were formerly changed beyond recognition. The process of example of Penang. Innovative use of urban incubators, good branding and a unique relatively homogenous. gentrification of old neighbourhoods was a case space as performing arts venues can open up proposition, follow-up and research, all come in point, as was new developments that are not parts of cities that citizens have never seen, or into play. However, communication on its own was not sympathetic or well connected to their social make them see their city in a new light, thus sufficient but there also needed to be some and physical settings. The case described, where promoting a greater sense of identification Understandably the conference focused on sort of structure that enables people to feel a property developer engaged place-making with place. the success stories – and there was much empowered to make a difference. In other professionals to help shape the public space to learn from them. Initiatives that did not words, the way in which the community is within a new development that would fit the On the other hand, some speakers felt that cities fare as well as expected were conspicuous engaged, the mechanics of consultations and social and cultural needs of the local community, which already have good cultural infrastructure by their absence. Admittedly such research the way feedback is gathered and fed into the would surely have had a positive impact on the need to look beyond programming those spaces would require resources that are often not decision-making process is clearly of vital sense of public ownership of the facility. Several to assess how they can activate public spaces as available, but without such data, we will not importance here. To help broker this process, of the speakers stressed the need for the private a whole. fully understand what it is that makes certain one suggestion put forth was that more people sector to be more actively involved in such initiatives successful, and others not. could be trained to mediate between the various place-making initiatives. Measuring Success and Impact stakeholders so that a win-win situation could The conference ended on a positive note be reached with diverse stakeholders who may Strong Commitment and Funding Due to the limitations of time, little was with general agreement that arts and culture have varying and competing demands. presented on the impact assessment of arts are essential ingredients of any urban Such mediators would also be useful in the Any arts and culture related urban revitalisation and culture revitalisation initiatives. This is revitalisation programme, and tribute being Singapore example cited, where traditional initiatives usually benefit from strong surely an important part of the equation, even paid to dedicated sector professionals, cultural practices are being promoted as a commitment from civic or national levels of though it is generally acknowledged that in- practitioners, and the stakeholders they serve means to bolster national identity. government, together with incentives, supporting depth assessment (beyond the usual indicators with the support of committed government, schemes, funding and where needed, legislation. such as footfall, revenue and polling research) private and people sectors. Acting Locally as well as Globally is complex and often difficult to interpret. A contrary example was the one of Yogya, Perhaps for this reason, there seems to be a On the other hand, it was clear from the where in a relatively low-cost environment, general lack of longitudinal studies that gauge presentations and discussions that cultural it was possible – despite the absence of the impact of arts- or culture-themed urban initiatives in an interconnected world also government funding - to establish an artist-led revitalisation initiatives over time. needed to act at the global level. So the arts centre with funding from foundations. programming for an arts festival for example, Interesting in this regard are the examples should address local interests and preferences However, it was noted that funding always where successful pop-ups became catalysts but also bring in international performances. comes with strings attached. Any kind of or incubators for more permanent cultural Doing so brings new perspectives to engage and financial assistance, whether public or private, offerings. These cases argue in favour of a more inspire local audiences and arts practitioners. It invariably includes conditions, deliverables, Key organic, more measured pace of implementation also enlarges the audience base for any initiative, Performance Indicators (KPIs) etc that have to - facilitating the set-up, assessing its impact, thereby increasing its popularity and chances of be met. There was clearly concern over the issue allowing momentum to gather and seeing where commercial success. of funders’ control. One way forward might be that takes the enterprise. to acknowledge and accept the constraints and The Adelaide example illustrated the be smart as to the ways in which the recipients evolution of emphasis in programming over of funding can push the envelope. Funders are time from international to embrace the local, clients, and matching the project to the client is and now regional. also a needed skill.

4 5 architectural and cultural heritage. Through enterprises, as it believes in being a centre of REVITALISING OUR CITY THROUGH place-making, we have transformed some of research, innovation and experimentation ARTS AND CULTURE our historic buildings, and given them a new through creation. It is making arts and culture lease of life. For example, the National Gallery accessible to all, bringing communities of Singapore, located in the old Supreme Court and diverse ethnicities together and incubating new City Hall, houses the largest public collection jobs through culture and design. of modern art in Singapore and Southeast Asia. Singapore’s first Parliament House, which In Singapore, we too try to create community stands on the site where the Temenggong of spaces for different audiences to come together Speech by Ms Grace Fu, Johor used to occupy, is now The Arts House, to encourage mutual understanding and Minister for Culture, Community and Youth home to the Singapore International Festival strengthen community ties. The National Arts at the Culture Academy’s Annual Conference 2017 of Arts. Right next to it, we have the Asian Council’s Arts in Your Neighbourhood initiative, Civilisations Museum, the only museum in the and the People’s Association’s PAssionArts are region devoted to exploring the artistic heritage brought to our shopping malls, hawker centres, of Asia. Just across the river, we have the HDB void decks and community clubs. Our beloved “Durian” – the Esplanade, known for community artists, musicians and interest its top-notch performances and cultural festivals groups make use of these common spaces to such as Huayi, Pesta Raya and Kalaa Utsavam showcase their art and share their stories with Our Speakers, Distinguished Guests, Ladies and their peoples. But the question I would like to lay which are timed together with the Lunar New their friends and neighbours. Everyone – young Gentlemen, good morning. I am happy to join down for us today is how we in Singapore can Year, Hari Raya Puasa and Deepavali. Each of or old, amateur or professional – can participate you at the Culture Academy’s second annual revitalise our spaces in a way that would endear these places is rich in history, but together, they and be inspired by arts and culture, as attendee, conference. This year’s theme is Reviving and them to fellow Singaporeans? I will share three can transform an entire district into a showcase volunteer or performer. But can there be more? Revitalising Cities and Spaces Through Arts thoughts on this question, which I hope will be of our distinctiveness and uniqueness to both Can there be sustained activities? and Culture. Such platforms by the Culture useful to you in the conference programme. Singaporeans, as well as our friends from other Academy enable us to build new networks, parts of the world. How can we make that Building an Endearing Home Together deepen our relationships, and share our ideas Place-making Profiles the Distinctiveness happen? with the Community among Singapore’s cultural leaders. We are of a City also privileged to have with us distinguished Third, the process of place-making can speakers from Australia, Indonesia, Malaysia, First, it is important to recognise the ability of Place-making Creates Shared Spaces, encourage the community to actively co-create Singapore, and the United Kingdom. For our the arts to deepen our sense of national identity Promoting Diversity and Inclusivity a space that they can identify with. Le Carreau du overseas participants – a warm welcome to and belonging. I recently visited the West Second, the arts and culture can play a key role Temple in Paris was originally a thriving second- you! As we take a closer look at our cultural Kowloon Cultural District – a project that seeks in bringing people of diverse backgrounds hand clothes market, with about 1000 traders in spaces and communities, let me share with you to establish a vibrant cultural hub in the heart together. Place-making can create common the 1950s to 1970s. However, business decreased my thoughts on how the arts and culture have of Hong Kong. The largest arts and cultural spaces for people to gather, share and significantly over time, resulting in empty enabled the building of communities. I will use project in Hong Kong, the West Kowloon understand their experiences. For example, Le buildings. Fortunately, the local city government some examples from overseas, to illustrate how Cultural District will span 40 hectares, which is Centquatre is a community cultural centre in responded to the wishes of residents in the revitalisation efforts have led to a greater sense about 50 football fields. It will have performing Paris, where you can find artists, youths, and neighbourhood, and redeveloped it into a new of identity and revitalisation of spaces. arts venues, museums, exhibitions, along with the public participating in a variety of cultural multi-purpose centre for arts, culture, sports green open spaces and parks right by Victoria pursuits. The place is anchored on a building and food. Le Carreau du Temple now partners All over the world, societies have harnessed the Harbour. The CEO of the West Kowloon that used to house the city’s undertakers, some 50 associations to conduct lifestyle classes ability of the arts and culture to revitalise cities Cultural District, Mr Duncan Pescod, said, “We hearses and horses. After redevelopment, it is for the community, with a commission set up and spaces, through what we now call place- are determined to create a cultural hub where now a community space that caters to all artistic to select teachers for the classes and keep costs making. This is because the arts are “universal the local art community can be inspired… disciplines – theatre, dance, music, and also other affordable. It also has residencies for budding languages” which can transcend immediate we want everyone to see the progress we are forms such as culinary, digital and urban arts. artists within their studios and auditoriums, as differences to help build bridges across cultures making in creating a world class cultural district Located in a part of Paris with a concentration a way of supporting the local scene. During and communities, while connecting us to our that Hong Kong people can be truly proud of.” of migrant communities, Le Centquatre is also its place-making process, Le Carreau du Temple roots. Many other countries have also used arts a place where social services (such as family was recognised for engaging and consulting the and culture as part of urban revitalisation efforts, In Singapore, we have the Civic District, home counselling) are offered. Le Centquartre acts community extensively. to create a sense of pride and identity among to important stories in Singapore’s historical, as a business incubator for social and cultural

6 7 We, too, believe in the importance of involving culture, but together with the people, we can our stakeholders and community in our place- make Singapore a cultural place. It must be a making efforts. We want to create spaces place where culture is a part of our lives, part of Douglas Gautier that serve the needs of Singaporeans. The our social narratives, part of our ethnic identity Chief Executive Officer and Artistic Director government has worked with public and private yet interacting with others to bring forth a new stakeholders on place-making activities over the Singaporean identity. This process will require Adelaide Festival Centre years, including key arts and heritage events. from you thought leadership, focused attention For example, you may have been to the annual and strong teamwork. The conference will be a Singapore Night Festival, organised by the good place for these elements to take root. National Heritage Board and held in the Bras Basah.Bugis district. Since its first edition in Thank you once again for joining us today. I Douglas Gautier is CEO & Artistic Director of Adelaide Festival Centre. Since 2006, he has 2008, the number of stakeholders involved in wish you all a fruitful conference! delivered a program-led strategy that has positioned Adelaide Festival Centre as a hub for Asian- the festival has grown by more than 10 times. Australian cultural engagement. These stakeholders have also shifted from being passive venue providers to active community Douglas’ program innovations include the Adelaide Guitar Festival and the OzAsia Festival, which partners, joining the NHB in co-creating the is Australia’s premiere international contemporary arts festival focusing on Asia. festival for Singaporeans to enjoy. But have we gained ownership? Can more local co-creation Douglas is currently overseeing the redevelopment of the Adelaide Festival Centre. When fully be facilitated? completed in 2018, the festival centre precinct will see the unveiling of a new Festival Theatre entrance with renewed foyers and upgraded facilities; new dining experiences across Adelaide Our Efforts have Contributed to a Vibrant Festival Centre; technical theatre upgrades; a children’s arts playground; and a revitalised northern Arts and Culture Scene promenade featuring Adelaide’s very own Walk of Fame.

Our collective efforts appear to have borne Prior to his joining the Adelaide Festival Centre, Douglas was the Director of the Hong Kong fruit. Over 5 million people visited our national Arts Festival, held the posts of Deputy Executive Director of the Hong Kong Tourism Board and museums and heritage institutions in 2016. Director of Corporate Affairs and Marketing for STAR TV (the Asia-wide satellite television network The number of non-ticketed arts and culture of Newscorp). He was also the founding Vice-Chairman of the Asian Arts Festival Association and activities is at its highest level, while attendances a board member of the Asian Cultural Council (Rockefeller Foundation). of non-ticketed events exceeded 9 million. Put together, these positive trends suggest that we In 2013, Douglas was elected Chair of the Association of Asia Pacific Performing Arts Centres are on the right track in developing a more (AAPPAC). He is also the Director of the Asia Pacific Centre for Arts and Cultural Leadership, a vibrant arts and culture scene. member of the new Australia-Singapore Arts Group, an Executive Councillor of Live Performance Australia, an advisor to the Hong Kong Arts Festival, a Flinders University Councillor, and an We can do more in revitalising our city and adjunct professor of the University of South Australia. spaces through place-making. We must continue to engage our stakeholders and to do so more Douglas was a key driver in the successful bid for Adelaide’s accreditation as a UNESCO Creative deeply, to build on our existing efforts. As seen City for Music. In 2016, Douglas was appointed a Member of the Order of Australia for services to from some of the examples that I have shared, the arts and the community. we need sustained engagement and purposeful programming to effectively make a place.

To accomplish this, I firmly believe that we need to invest in capability development, and learn from best practices locally and overseas. Our institutions must work effectively with each other, and look beyond bringing audiences or visitors into their respective institutions. We have made our respective institutions places for

8 9 RESPONSIBILITIES AND OPPORTUNITIES Responsibilities and Opportunities for Arts and Cultural Institutions in a Multicultural, Creative City FOR ARTS AND CULTURAL INSTITUTIONS IN A MULTICULTURAL, CREATIVE CITY

In modern creative cities, arts and cultural institutions have a responsibility to lead and serve Douglas Gautier their community in the best interest of good civic society. Sometimes, they can be undervalued and considered ‘nice to have’ rather than fundamental to the success of a multicultural city and Chief Executive Officer and Artistic Director community. Cultural institutions should place themselves at the heart of their community to ensure Adelaide Festival Centre their own relevance, further the ambitions of a creative city, and enhance the lives of its inhabitants.

To lead and serve their city, cultural institutions must extend their reach to all areas of their communities and cultivate international networks. They must capitalise on their international connections and reputation; collaborate with all tiers of the education and learning sectors; and nurture relationships with all relevant stakeholders. According to the United Nations Educational, Cultural Institutions as Connectors and Scientific and Cultural Organisation (UNESCO)’s Collaborators Adelaide Festival Centre’s leadership team believes the centre has a significant social responsibility Universal Declaration on Cultural Diversity, to engage the power of the arts to celebrate and nurture diversity, promote social harmony, and “culture is at the heart of contemporary To lead and serve their cities, cultural institutions help create a place for Australia in the world. Since 2006, Adelaide Festival Centre has achieved this debates about identity, social cohesion, and the must extend their reach to all areas of their ambition by focusing on ‘arts for all’ and making multicultural focus a long term strategic goal. development of a knowledge-based economy” communities as well as cultivate international (UNESCO, 2001). networks and exchange. They must capitalise on Now, as the institution grows its cultural leadership position within Australia and across the Asia their international connections and reputation; Pacific region, it is connecting with places and people very differently than ever before. Adelaide In modern creative cities, arts and cultural collaborate with all tiers of the education and Festival Centre’s community has changed dramatically since it opened in 1973 and the demands of institutions and organisations have an obligation learning sectors; and nurture relationships what is now a multicultural community require a new proactive, dynamic, and strategic set of goals to lead and serve their communities in the best with all relevant stakeholders. The UNESCO and actions. As a result, the organisation has become a much stronger contributor to social cohesion interest of good civic society. Despite often declaration also says “Policies for inclusion and civil society. being undervalued and considered to be “nice and participation of all citizens are guarantees to have”, the role of cultural institutions is in of social cohesion, the vitality of civil society fact one of great power and influence. And and peace. Cultural pluralism is conducive of course contributing to good civic society to cultural exchange and to the flourishing is a key responsibility, particularly in modern of creative capacities that sustain public life” times when communities are growing more (UNESCO, 2001). diverse and where the lines and gaps between the constituent parts of these communities As the Chief Executive Officer & Artistic are often more obvious and sensitive. Cultural Director of the Adelaide Festival Centre, I organisations are therefore fundamental to the believe that our organisation has significant success of a multicultural city and community social responsibility to engage the power of and by placing themselves at the heart of their the arts to celebrate and nurture diversity, to community, these institutions ensure their own promote social harmony and to help create a relevance, while furthering the ambitions of reputation for Australia as a place that respects their creative cities, and, enhancing the lives of and welcomes people from many cultures. This their inhabitants. objective is important, especially for Australia’s

10 11 Bringing Australia to the Asia-Pacific Australia Cultural engagement in our country. Region and the Region to Australia This festival celebrates Australia’s connections with the cultures of the Asia-Pacific and also The Festival Centre’s intercultural collaborations the growing presence and importance of Asian and connections are fundamental to its success. communities in Australia. The centre has used We are adapting to and supporting Australia’s performing arts, literature, film and visual arts fast changing communities. One of our key to assist local Australian-Asian communities to platforms for this approach has been our connect to the Arts in South Australia and help OzAsia Festival which is now 11 years old and improve Australians’ understanding of Asian remains the pre-eminent platform for Asia - culture, traditions and language.

Adelaide Festival Centre by day. Image courtesy of Trentino. position as a positive and cooperative member and actions. As a result, the organisation has of the Asia-Pacific region. Since 2006, Adelaide become a much stronger contributor to social Festival Centre has worked towards this goal cohesion and civil society. by focusing on ‘arts for all’ and making a multicultural focus the central part of its long The Adelaide Festival Centre (AFC) functions as term strategic plans. Adelaide’s premier performing arts centre and is operated by the Adelaide Festival Centre Trust Now, as the organisation extends its cultural (AFCT). The AFCT runs a range of activities leadership position throughout Australia and within its broader role of promoting and across the Asia-Pacific region, it is connecting hosting the performing arts in South Australia. with places and people that were previously During 2015-16, the AFCT sold approximately outside its cultural scope. Adelaide Festival $31 million in tickets to over 505,000 attendees. OzAsia Moon Lantern Festival 2017. Image courtesy of Adelaide Festival Centre. Centre’s local audiences have changed Performances comprise internally produced, as dramatically since the centre opened in 1973 well as third party productions. The genre of and the demands of what is now, a multicultural shows include theatre, opera, dance, ballet and community in our city and state require a new musical performances. proactive, dynamic, and strategic set of goals

OzAsia Moon Lantern Parade. Image courtesy of Adelaide Festival Centre. The number and value of tickets sold in 2015-2016 by the AFCT and the South Australia Government Arts Entities. Image courtesy of Ernst & Young – Adelaide Festival Centre: Economic Contribution Report (2017).

12 13 Another example of these international The ASAG has proven immensely rewarding collaborations is the Australia Singapore Arts for both Australia and Singapore. This kind of Group (ASAG). Jointly set up by the Australian collaboration has potential not only for the two and Singapore governments to promote countries involved but for other communities sustainable artistic and cultural activities between and countries in the Asia Pacific region, the two countries, ASAG’s key ambitions particularly in South East Asia. provide the framework for meaningful intercultural collaboration, and specifically seek The UNESCO Universal Declaration on to encourage: Cultural Diversity states that, “the process of • Capacity building, including artistic exchange globalisation creates conditions for renewed and talent development programmes. dialogue among cultures and civilisations” • Exchange of professional expertise and (UNESCO, 2001). information. • Training and professional development The important conversations we are having including cultural exchange programmes. about the role of cultural institutions and • Fostering conditions for the exchange of organisations will continue to evolve as we reflect practitioners. on our ability to influence, lead, and to honour • Exhibitions development. our obligations and responsibilities. By working • Cultivating audiences and expanding together to deliver inclusive arts and cultural markets within the region for art and culture. experiences, cultural institutions can support • Showcasing Singaporean and Australian art the ambitions of their creative cities, serve the and culture. best interests of their growing multicultural • Collaborative projects across art forms. communities, and promote understanding and collaboration across our Asia Pacific region.

Bibliography

1. “UNESCO Universal Declaration on Cultural Diversity”, UNESCO Doc. 31C/Res 25, Annex 1 (2001). Nov 2011, http://portal.unesco.org/en/ev.php-URL_ID=13179&URL_DO=DO_ TOPIC&URL_SECTION=201.html.

14 15 IS THERE SUCH A THING AS ARTS AND DrRebecca Coates CULTURALLY LED ECONOMIC RENEWAL? Director, Shepparton Art Museum

Rebecca Coates is Director of Shepparton Art Museum (SAM), a position she has held since 2015. Dr Rebecca Coates Located in regional Victoria, SAM is recognised for its national collection of Australian ceramics and is currently working with architects Denton Corker Marshall to develop a new purpose built art Director, Shepparton Art Museum museum to be completed in 2020.

Rebecca has extensive professional art museum and gallery experience in both Australia and overseas. She has been a curator, writer and lecturer. Her previous roles include, Lecturer in Art History and Art Curatorship, University of Melbourne; Associate Curator at the Australian Centre for Contemporary Art (ACCA); the Melbourne International Arts Festival; the Museum of Modern Introduction to the Shepparton Art Museum The Need for Rejuvenation Art, Oxford; the National Gallery of Victoria, Melbourne and the old ACCA. She speaks and writes regularly on contemporary art and theory, curatorial practice, and art in the public realm. She is an Shepparton Art Museum, or SAM as it is SAM is currently undergoing its most ambitious Honorary Fellow, School of Culture and Communication, University of Melbourne, and has held affectionately known, is set squarely in the development in the 80-years since the first a number of board and advisory roles, as Chair of City of Melbourne’s Public Art Advisory panel, centre of regional Victoria, Australia. Greater painting was acquired for the Collection in City of Stonnington, and the Australian Tapestry Workshop. She holds a PhD in Art History from Shepparton has a population of around 1936. In May 2015, Greater Shepparton City the University of Melbourne. 64,000 people, and is located on the Goulburn Council resolved to accept the findings of a River floodplain. It is about 2 hours north of Feasibility study and Business Case for a new art Melbourne by car, the main means of transport. museum in Shepparton. It envisaged a $34.5M Though there is a regional rail line, services are AUD building that will provide a new home to Is There Such a Thing as Arts and Culturally led Economic infrequent and rolling stock old. SAM, the Visitor Centre for Shepparton and Renewal? new premises for Kaiela Arts, Shepparton’s SAM is now recognised for many things that local Indigenous community arts centre. The differentiate it from its colleagues and other building is a bold and ambitious step for a regional galleries. It has a unique collection local Council located in a regional centre not In May 2015, Greater Shepparton City Council resolved to accept the findings of a Feasibility study focus, as the leading collection of Australian especially known as an arts and cultural mecca. and Business Case for a new art museum in Shepparton. A $34.5M AUD building, this was a bold ceramics in regional Australia. The ceramics and ambitious step for a local Council located in central regional Victoria, around two hours from collection spans objects from Australia’s first What prompted Greater Shepparton City Melbourne. Arguably, this was as bold a step as commencing the Collection 80 years previously in European settlement, Indigenous artists working Councillors to endorse a business case to build 1937. The new Shepparton Art Museum (SAM) is to be a tangible demonstration of the way that arts in the ceramics medium, to contemporary artists an ambitious new art museum, committing and culture could and should play an essential role in a regional centre, playing an important cultural and expanding our understanding of ceramics in a $10M as part of the funding required for this economic role and contribution to the region’s renewal and growth. With the most significant collection contemporary context. The SAM Collection also major new $39.5M stand-alone cultural space in of Australian ceramics in regional Australia, and a dynamic program of exhibitions, education and includes notable Australian historic works of a unique part of central Victoria? And what did public programme activities, the new Museum is designed to help foster a strong sense of engagement, art, a growing contemporary collection, and an those involved in the project believe that an arts ownership, and pride for visitors and local audiences alike. Co-located in the new Museum are Kaiela important collection of Indigenous Australian and cultural infrastructure project of this kind Arts (Shepparton’s local Aboriginal community arts centre), and the Visitor Information Centre. The artworks. SAM is recognised for how it engages, could offer local community and visitors to this building has the potential to bring people together, in an outstanding example of exciting, innovative, informs, excites and inspires audiences young part of the state? best-practice contemporary museum architecture. One of Australia’s most exciting new art museum and old, from near and far, through a dynamic projects planned to be completed in November 2020, new SAM is firmly rooted in its unique context programme of exhibitions and educational and and place. This paper examines the way that an arts and culture policy can lead an agenda. public programmes conceived to have strong local relevance, while critically engaging with global contemporary ideas.

16 17 A Culture-Led Economy for Shepparton cultural renaissance’ have all been used to The Business Case noted that this new The Business Case focused equally on the social, describe the growth in visitor numbers to building should: cultural and economic arguments underpinning Of course, arts and culturally led economic the state, from New York to Melbourne • strengthen the environmental base the creation of a new Museum. It proposed renewal is not a new phenomenon. We are (Hawthorne, 2014). There is certainly a giving new visibility to the opportunities both a tourism opportunity and a ‘landmark’, all familiar with Richard Florida’s thesis of widespread belief that if you build it, they which the Goulburn river and its or ‘iconic’ building for Shepparton residents. creatively led economic growth, and the theory will come. Kate Isabel Booth voices a note of surroundings present. Arts and Culture were seen as the vehicle to that high profile international events, activities caution however, reminding us that, ‘without • strengthen the economic base of the city. reach greater ambitions. Bendigo, MONA, and and business clusters will attract creative workers deliberation and planning, culture-led urban • strengthen the social base of the region, even Bilbao, Spain, were used as examples. from related fields with higher economic regeneration can amount to nothing more than providing one of the only (undercover) Councillors endorsed the Business Case and the productivity (Florida, 2002). Management an enhanced city image (Booth, 2017).’ Research public spaces where people can learn, share, borrowing of $10M towards the new building consultants McKinsey and Co. found that a does not always support the dream. and express themselves. in May 2015. thriving cultural sector is an essential part of • dramatically strengthen the region’s what makes a city great, while in 2014, an article Bendigo has similarly undergone a cultural capability to engage with the History and Demography of Shepparton in The Economist noted that more than two dozen renaissance in the recent past with a strong ongoing journey of reconciliation new cultural centres focused on museums were economic impact. Under the directorship of and cultural celebration. Shepparton is not, and may well never be, due to be built in various countries over the Karen Quinlan, Bendigo Art Gallery (BAG) • provide a major piece of new accessible Bendigo in terms of population and growth. following decade, with an estimated cost of has attracted international fashion blockbusters, public infrastructure, facility and Its history is different: while Bendigo is central $250 billion (Economist 2014). and shifted its image from that of an important services, setting a new benchmark in to Victoria’s Gold Rush boom-town story, regional gallery with an interesting collection accessible infrastructure, so as to make the Shepparton has always focused on farming, The ‘Bilbao Effect’ is now a well-used and to one that brings in millions of dollars in Museum accessible – particularly for people agricultural machinery and immigration. oft-cited term: Frank Gehry’s modernist tourist revenue. Bendigo’s population is around with disabilities. Arguably, it embodies Australia’s multicultural architectural monument is widely seen as 110,000, making it one of the largest regional • significantly support planning for the policies at work. the centre-piece in revitalising the depressed centres in Victoria. With numerous tourist servicing of forecasted growth, and also industrial economy of the Basque region attractions and community facilities, recent dramatically propel forward the creation Shepparton also has a long, strong and proud of Spain. But economic renewal of this figures suggest that BAG generates $20 million of greater diversity of the economic Indigenous history and living culture. Located sort is never quite that simple. While a new annually for its local economy (Shmith, 2014). base, so as to build greater resilience on the traditional lands of the Yorta Yorta museum or cultural facility contributed to into the Shepparton regional economy. Nation, also comprised of the Bangarang and the transformation of the city into a vibrant SAM’s business case for a similar arts and • provide the necessary planning to enable a other clans, Shepparton is home to the second and attractive place for residents, visitors culturally led economic and social renewal new museum to cater to a much larger most populous Indigenous language group in and inward investment, as Beatriz Plaza, an project envisaged the new museum as a place number of Victorians living in North Australia, and the largest Aboriginal community economist in the Faculty of Economics at with ‘the artist at its core …’ The vision of the Central Victoria. in Victoria outside Melbourne. The community the University of the Basque Country (Bilbao, Business Case was that: “SAM will be a museum • be a resource and destination for has a strong history of Indigenous advocacy and Spain) noted, it was part of a much larger with the artist at its centre, a meeting place for students studying in the region, and leadership, both nationally and internationally. In economic redevelopment strategy to generate the Region’s people, providing captivating art create new educational opportunities the 2016 census an estimated 3.4% of residents growth (Janes, 2016). As she put it, the museum experiences and connection to the Aboriginality by tapping into the academic faculty of have Indigenous heritage, and approximately is the highly visible ‘icing on the cake’. and multi-cultural origins of the Region’s these universities. 16% of residents were born outside Australia heritage” (McArthur 2014). • The ultimate aim of the new museum is a (ABS, 2016). Australia has had its own ‘Bilbao effect’, with gigantic step forward in the improvement of the creation of David Walsh’s MONA, Museum cultural infrastructure, giving Shepparton Shepparton is known for its diverse, multicultural of Old and New Art which opened in 2011, a the ability to turn visitors into residents population. Waves of migration from the 1930s confection of Cortene steel and contemporary and ultimately investors. This conclusion onwards have resulted in a strong, culturally rich architecture located within one of the most is based on the full economic impact and community. In the aftermath of World War 1, disadvantaged municipalities of Tasmania, feasibility study that was done on the new migrants came mainly from Southern Europe, Glenorchy. MONA has been widely credited museum and its capacity for job creation. predominantly Greece, Italy, Macedonia and with turning Tasmania’s economy around, and Albania. Post World War II, further migration putting the Apple Isle back on the cultural occurred from Europe with many Turkish tourism and international destination map. immigrants settling in the region. In the Terms such as ‘Hobart’s cultural renewal’, late 1980s, Punjabis from India and Pacific ‘cultural regeneration’, and even ‘Tasmania’s Islanders began to arrive. In the 1990s Greater

18 19 Shepparton welcomed Afghani, Iraqi, Sudanese architectural companies were selected by an building services from the public eye. This The Business Case recommended that SAM’s and Congolese populations. In the 2016 census, expert Jury to develop Concept Designs. Each offers additional community spaces to relax, to governance structure be shifted so that the Shepparton had a greater proportion of people offered visionary and exciting possibilities for a view projections and art on the exterior façade entity, previously Council owned and operated, born in Asia than any inland area except a few new Museum for Shepparton. At the April 2017 of the new SAM, and links the new building will become a Company limited by guarantee. mining regions. And more of the population Council Meeting, Council endorsed Melbourne- with its surrounding landscape and public space. Greater Shepparton City Council will retain was born in the Middle East and Africa than based architects Denton Corker Marshall It means the building can be activated day and strong links with the new organisation which any Australian region other than its capital cities (DCM) as the winner of the Competition, and night, through innovative programming and will care for, manage and display the Collection (Wood, 2017). SAM works to develop strong engaged them as architects to develop detailed activities, or simply through enjoyment of new that remains a Council asset. The new SAM ties with many in these communities, creating designs and work on construction. public spaces. building is Council owned, and leased to SAM exhibitions, programmes, a Collection, and at a peppercorn rent. The Council will appoint educational opportunities that have meaning DCM’s response to the architectural brief was Importantly, the new SAM will be more than just two board members to the new SAM Board of and value for many. to create a building with a small footprint, given an art museum. It will be a community space, Management and continue to contribute annual its location on a floodplain next to a body of one that fosters pride and identity, and a place operational funds meeting the current level of Socially and economically, Shepparton has water and within existing parkland, five storeys where people can come together through various SAM funding. innovated and grown. Greater Shepparton high. This enabled it to look over the River Red activities. It offers a much needed new home to is a key regional hub, with a strong farming Gum forest to the west, and provide a vantage the Shepparton Art Museum, sorely in need of Transition of business is well underway. Business community recognised as a significant producer point for the flat uninterrupted views around. adequate collection storage and back-of-house is expected to triple as SAM moves from a of dairy and orchards. Often dubbed the Built on one of the prime sites in Shepparton, spaces, increased exhibition spaces, and venues museum contained in a repurposed Council ‘fruit bowl of Victoria’, it is the centre of the the building will be one of the visual landmarks for workshops and educational activities. SAM’s building to a stand-alone purpose built space. Goulburn Broken Rivers farming area, which as people enter Shepparton on the south road unique ceramics collection will be showcased Operations, activities, staffing, budgets, and accounts for 25% of the total value of Victoria’s from Melbourne. As a beacon in the landscape, throughout the building, extending beyond the ambitions will accordingly need to expand to cater agricultural production, and produces more than the architects see the building’s monumentality, gallery spaces. The new SAM will also house for this growth. There will be new opportunities half of Australia’s apricots and peaches; four in materiality and sculptural form as reminiscent the Visitor Centre; commercial spaces including for volunteers and community members to get five pears, and one in three apples (Australian of the land art of American Post-Minimalist a café and a rooftop area for functions and involved, fostering and developing a sense of Bureau of Statistics). artists such as Richard Serra. events; and Kaiela Arts, Shepparton’s local community connection through groups and Aboriginal community arts centre. Accordingly, activities. Revenue to continue to develop and The Development of the New SAM Overlooking the wetlands and the River Red the building was conceived in the round: each run all of these activities will come in part from Gum forest beyond, the building also nods façade representing a specific purpose and Council support state and government grants Since the Business Case was endorsed in May to its unique Australian context. With its function, without a traditional ‘front’ and a and funding, as it does now; from increased 2015, progress has been swift. The initial overhanging, L-shaped façade plates, and ‘back’. Sustainability and the environmental grants and private philanthropic giving for Business Case projected a budget of around glassed in ground floor, the building creates a footprint of the building is also an important increased funding for projects and operations $34.5M. Funding has since been secured new form of Australian vernacular verandah factor in its design. that are only possible with more space; and from state and federal governments, private architecture, originally designed to catch the from the new commercial operations in the new philanthropic foundations and individuals. breeze and offer shade. These re-envisaged Co-locating each of these unique and SAM. SAM will remain a not-for-profit entity, The funding is divided into roughly four spaces create a place for people to meet, gather complementary activities in the one building whose operational model is designed to break sections: $10M from Council; $10M from the under protection and shade, and connect with is a first in Shepparton, and possibly even in even. More importantly, SAM will aim to create State Government; $10M from the Federal activities inside the building. Galleries and Victoria. With extensive Indigenous consultation an exciting, dynamic, and engaging arts and Government; and the SAM Foundation has interior spaces also link the inside to beyond, and collaboration, the building has the potential culturally led experience for all. committed to raise approximately $12M, with with a mix of picture windows and a discrete to be a major project of reconciliation and around $4.5M allocated to the building project, use of natural light in the galleries themselves. acknowledgement, working with and celebrating and a further $8M towards an endowment. These sorts of considerations take the visitor’s local Indigenous communities’ continuous As with all art museum projects, fundraising experience into account, cutting down on visitor living culture, people and history alongside the efforts continue. fatigue and ensuring that the spaces feel relaxed history of Shepparton and its unique regional and welcoming while not limiting the building’s Victorian context. For Shepparton Art Museum, Architects were selected through an Australian core activities. this narrative will be told through its exhibition Institute of Architects endorsed Architectural programme, and public and educational activities, Competition. This attracted 88 Expressions One of the winning features of DCM’s design drawing on the strengths of the art museum’s of Interest from leading Australian architects is an Art Hill that links the first floor café to Collection to tell a story that is locally relevant, and a number of international firms. Five the surrounding landscape, and cleverly hides and engages with contemporary global ideas.

20 21 Conclusion Bibliography

The new SAM has the potential to become a 1. See Florida, The rise of the Creative Class, 2002. For a discussion of culturally-led urban building that brings people together, to enjoy art, regeneration, see Joanne Fox-Przeworski, John Goddard and Mark De Jong (eds.), Urban to meet and relax with friends, as a place to work, Regeneration in a Changing Economy, Oxford: Clarendon Press, 1991. or as a place to visit and get involved. The success is built in part on SAM’s activities and the growing 2. See The Economist, ‘The Bilbao Effect: If you build it, will they come?’, Jan 6, 2014. Accessed 28 role that it plays in Shepparton’s community. The May 2018. https://www.economist.com/special-report/2014/01/06/the-bilbao-effect. current SAM already does many of these things, with activities, exhibitions and programmes. But 3. See Robert R Janes, Museum without Borders, Routledge, Oxon and NY, 2016. In Bilbao’s case, through expanded partnerships, collaborations, redevelopment included amongst many other things, a new subway line, new drainage and and working together, the vision and ambitions water systems, an airport, residential and business complexes, a seaport, and industrial and that all have for the new SAM will be a collective technological parks. B. Plaza, “On some challenges and conditions for the Guggenheim and shared achievement and experience. This is Museum Bilbao to be an effective economic re-activator”, International Journal of Urban and the next stage in the exciting life of a regional Regional Research (32/2), 2008, 506-16. See also G. Lord and M.Sabeau, “The Bilbao effect: From art museum, with a unique collection focus and poor port to must-see city”, The Art Newspaper, 184, 2007, 32-3. Accessed online 28 May 2018. remit to audiences near and far. Artists, audiences, https://www.lord.ca/Media/TheArtNewspaper32-33Museums.pdf. exhibitions, a unique collection, and context are core to this vision and the project’s success. 4. Hawthorn, Lucy, ‘Hail MONA! But what about the rest of Tasmanian art?’, The Conversation, October 27, 2013. Accessed online 28 May 2018. https://theconversation.com/hail-mona-but- what-about-the-rest-of-tasmanian-art-18857.

5. Booth, Kate Isabel, ‘Who goes to MONA? Peering behind the “flannelette curtain”, The Conversation, May 2, 2017, Accessed online 28 May 2018. https://theconversation.com/who- goes-to-mona-peering-behind-the-flannelette-curtain-73369.

6. Shmith, Michael, ‘Bendigo Art Gallery thrives on the Quinlan effects’, The Age, 21 March 2014, accessed online 28 May 2018. https://www.theage.com.au/national/victoria/bendigo-art- gallery-thrives-on-the-quinlan-effects-20140320-355ov.html.

7. Simon McArthur and Associates, Business Case for a new Art Museum in Shepparton, 2014, p. 15.

8. Australian Bureau of Statistics (ABS), Accessed 28 May 2018. http://www.censusdata.abs.gov. au/census_services/getproduct/census/2016/quickstat/SED27504.

9. Wood, Daley, Regional patterns of Australia’s economy and population, The Grattan Institute, 2017, pp. 27-28.

10. Australian Bureau of Statistics (ABS), Agricultural Commodities, cat 7121.0.

22 23 REVIVING AND REVITALISING A UNESCO Joe Sidek WORLD HERITAGE CITY Festival Director George Town Festival, Penang, Malaysia

Joe Sidek Joe Sidek is a prolific businessman and is the Managing Director of Joe Sidek Productions Sdn Festival Director Bhd. A cultural advocate, he has been the Festival Director of Penang’s George Town Festival since its inception in 2010. He established Joe Sidek Productions Sdn Bhd in January, 2012 as an event George Town Festival, Penang, Malaysia management company as well as the management arm for George Town Festival. He started the Rainforest Fringe Festival in 2017, and was appointed the Managing Director of Tropfest South East Asia in 2013.

Joe also sits on the Cultural Economy Development Agency (CENDANA) Industry Advisory Panel The Start (GTWHI), a state agency tasked with monitoring which was initiated by Malaysian Prime Minister, Dato’ Sri Mohd Najib Tun Abdul Razak and and promoting the city’s heritage. formed on 1 June 2017. On the 7th July 2008, two Malaysian cities of Malacca (in the state of Malacca) and George I accepted the challenge of organising a festival Town (in the state of Penang) were jointly that was due in 6 weeks! For both my team and inscribed as UNESCO World Heritage Sites, myself, this turned out to be the beginning of a Reviving and Revitalising a UNESCO World Heritage City which recognised the Outstanding Universal decade-long journey that was both challenging Value of both places as the “Historic Cities of but greatly rewarding, for what was meant the Straits of Malacca”. Described by UNESCO initially to be a one-off event, became a defining as “remarkable examples of historic colonial festival for Penang and saw its 8th year in 2017 Since receiving its UNESCO World Heritage Site Exceptional examples include Shaun Parker & towns … both towns bear testimony to the (to be followed by its 9th edition in August 2018). status in 2008, the multicultural George Town, Company’s athletic Trolleys at Armenian Park living multi-cultural heritage and tradition of Penang has seen a rise in the number of cultural in 2014, Theo Jansen’s inspirational Strandbeest Asia, where the many religions and cultures met George Town Festival, also known as GTF, events and festivals take place in this charming city. exhibited at the Esplanade Padang Kota Lama and coexisted. They reflect a coming together of started its 2010 inaugural year on a shoestring An ideal canvas for celebrations and festivities, the in 2016, Aida Redza’s powerful Moved by Padi cultural elements from the Malay Archipelago, budget, a state funding of 400,000 Malaysian internationally-acclaimed George Town Festival at Macallum Street, also in 2016, and Taiyuan India and China with those of Europe, to create ringgit (equivalent to an approximate has made optimal use of the cityscape due to its Puppet Theatre Company’s Potehi: Elegance and a unique architecture, culture and townscape” US$120,000 at the time). We had high hopes for ability to hold high calibre shows in unique spaces Explosions from Taiwan displayed at the historic (UNESCO, 2008). George Town as a space for arts and culture, but that transform into dynamic performance venues. Leong San Tong Khoo Kongsi this year. The with a tight budget, it became clear we would unparalleled beauty of these spaces are brilliantly The Beginning of George Town Festival – have to think outside of the box when it came The success of George Town Festival’s events demonstrated through these shows that skilfully Given a Low Budget and Short Notice to staging and marketing. at these remarkable locations is due to its canny utilise these venues as secondary, yet significant ability to engage a majority of the city’s colourful characters in their productions. Penangites (as people living in Penang are A Festival for the People population from George Town’s diverse ethnic known affectionately) were delighted to see the neighbourhoods. This is accomplished by making In its ninth year in 2018, the cultural juggernaut history and diversity of their town recognised One thing was clear to all of us from the start a large portion of the festival’s programming that is George Town Festival will continue to on an international level (as a UNESCO World - our objective, was to make art accessible, and public and free, thus attracting people from revive and revitalise George Town and its spaces Heritage Site). Encouraged by the success of our aim was (and consistently has been) to make various economic, racial and social backgrounds. through arts and culture to serve, engage, educate the one-day celebrations both in 2008 and 2009 at least 80% of our events free so that everyone In its eight years, there have been a significant and entertain the wider public. (organised by the municipal council of Penang), can enjoy arts and culture freely and happily number of internationally acclaimed programmes a longer, month-long festival was mooted in 2010 through this festival. We believe that a fun-filled, held at extraordinary locations in George Town. by George Town World Heritage Incorporated enriching, artistic experience should not just

24 25 be exclusively for culture vultures, it should be prepare them to enjoy the programmes coming accessible to all. to their doorsteps soon].

As importantly, we wanted to inspire After seeing the residents coming out to watch local creative practitioners by bringing in the performances, I thought to myself, “this is international acts that will nudge them to say ‘I our VIP audience”. I wanted them to have a can do that too”. taste of art, culture and performance that they might otherwise have never been able to see, or For us, the locals must feel that the festival never knew it was available to them. belongs to them and they should take ownership of it. The festival should not be inaccessible or Using George Town as the Canvas swarm their city with tourists – I strongly believe that the arts and GTF should serve the people Perhaps it is crippled by low budget and a lack first, and tourists second. Culture has become of performing spaces. Yet George Town opens very, very expensive all over the world, and the itself to me as a huge stage. Alongside some of experience is not something you can put a value the more familiar venues like Dewan Sri Pinang on. We have many free shows and performances and Municipal Town Hall, we began looking but what about the ticketed events? To how for unusual venues around the city, including many of the international shows can an average historic mansions, landmark streets, abandoned wage earner in Malaysia bring his family? How warehouses and interesting private spaces such then can we facilitate access to as much as the as shops, cafes, boutique and heritage hotels. festival showcases? Site-Specific Performances at Historical In 2012, we started the ‘student & community Spaces

tickets’ project, calling on private companies 2011 Festival Town George and individuals to sponsor tickets for some of Several highlights and festival commissioned 2011 - No. 7 At Cheong Fatt Tze Mansion2. Image courtesy of George Town Festival. the less privileged, providing access to some of shows have been held at some of the many the international performances we showcased. I historical buildings dotted around George Town. was reminded of an emotional episode - one of the boys from a charitable home who attended Manganiyar Seduction under this project, came out of the show, smiling, then reached into his pocket, and taking out all of the little money he had, put it all into our donation box. He told me that his teacher had said that the festival had no money and he wanted to help – this brought tears to my eyes – it weakened me and yet at the same time gave me strength to continue in our works for the past 8 years.

Another personal highlight for me is a project 2012 - Silat: Our Heritage for The World at Fort Cornwallis. Image courtesy of George Town Festival. we did in 2016 at the Macallum Street Flat Photography by Darren Koay Dong Yew. Complex. This was a low cost housing estate where around 8,000 people lived. We turned a small plot of land in the area into a paddy field for our artists to perform. [This site was identified for development into the Penang Art District (PAD). I hope that our gentle introduction of the arts to the residents will help

26 27 Public Art

Art displays within galleries or private exhibitions damage the already fragile walls within the inner are usually seen and appreciated by those who city. Under the project name Mirrors George already like art or who have been previously Town, only lime wash paint was used; This exposed to it. We want the man on the street allowed the old walls ‘to breathe’. The paintings to have the chance to enjoy it and be inspired also had to be sympathetic to the surroundings. by it, because art should not be restricted to the Then followed the weeks of ‘fighting council educated, cultured or the rich. offices’ to get our license!

All our exhibitions are free to attend but we Today, these murals have become one of George really wanted to (physically) bring art to the Town’s most iconic draws. After six years, you people - so what about art on the streets? We still see lines of people waiting to photograph found the best way of doing it way back in 2012 the murals. Everywhere in the city you see the - we accepted a proposal by the then relatively images printed on postcards, bags, mugs and 2014 - 2 Houses at Soonstead Mansion. Image courtesy of George Town Festival. unknown Lithuanian artist, Ernest Zacharevic, a range of other products sold by local street Photography on left by Mark Law, on right by Yew Kok Hong. to paint a series of murals on the walls of George vendors everywhere. Somehow, photographs of Town. We had to be very careful though, not to them are also seen across the world.

2014 - Hai Ki Xin Lor at Khoo Kongsi. Poster design by Azzad Mahdzir for Real Films for the George Town Festival production.

Some of the murals by Ernest Zacharevic. Image courtesy of George Town Festival.

2016 - Pearl at The E&O Hotel. Image courtesy of George Town Festival. Photography (left) by Mark Law. 28 29 Theatre of ships by Joko Avianto 2013 Artist Impression. Image courtesy of Joko Avianto for the project.

Total expenses on event production and related expenses in 2017. The project has inspired a whole range of artists Working with Local Businesses and Return Image courtesy of Joe Sidek Productions Sdn Bhd. to add their own artwork to the walls, to show to Local Economy off the city as a space for beautiful street art but the question arises: were we overdoing it? This We usually work out partnerships with private remains a question. owners so that all of us benefit. Many events have been held at private spaces such as cafes, The following year saw the installation of shops and boutique and heritage hotels which the Theatre of Ships by Indonesian artist Joko help highlight these spaces – they become a part Dwi Avianto using 3000 pieces of bamboo. of the festival, benefitting from it either directly Resembling the bows of ships, the installation or indirectly. covered the façade and rooftop of the Penang Municipal Council’s one-stop payment centre With over 100 events showcased throughout the nestled between two buildings. It became one of month, the festival engages local contractors, the most photographed art pieces of the festival suppliers and the travel industry to supply the that year but due to decay of the natural material necessary services. Working with partners and (which was expected), we had to remove the sponsors, a calculation of total expenses on installation after one year. event production and related expenses in 2017, showed a festival spending of over RM6 million for local services.

Street Events

Over the years, GTF has produced several public street events which were not just food or street-act events. These events came with public performances and installations which span a Theo Jansen’s Strandbeest at George Town Festival. Image courtesy of George Town Festival. whole range of genres including film, opera, Photography by Yew Kok Hong. dance, and traditional performances. We want everyone to be able to experience art without boundaries or fear. The public should be able to feel, touch and interact with the performances.

30 31 In developing local talent, we saw success in a Inspiring Malaysians with International Acts I recall a nice moment in 2016 at Butterworth For me, art does not need to be overly intellectual, collaboration with Aida Redza, internationally Fringe Festival (BFF) when a family asked for a it is all about generating emotion and making known choreographer-dancer who is based in We did not forget the importance of inspiring photograph to be taken with me (I felt like a rock people think or feel something different. It can Penang. Known to fans of theatre and dance as a the locals, showing them what’s out there in the star!) and told me they had come the previous be in the form of a grand spectacle or something fearless performer, Aida choreographed and led rest of the world, inspiring them to think “we year and enjoyed it so much and that they had very small and intimate, or hands-on. I hope that one of the first local street dance performance can do it too”! brought the whole family along for the second is what people take away from GTF. Bridges and Kaki Lima at our Victoria Street Project edition of the festival. That was a significant which showcased scheduled performances, Over the years, we have showcased over 20 Asian moment for me, as it signified the impact of exhibitions and interactive street games in 2013. premieres, many of which had local flavour or giving local people accessible exposure to arts She created another crowd puller Cross Waves & had contemporised Asian art & culture, fit for and culture. Moving Jetties for the 2015 inaugural Butterworth international consumption. Fringe Festival. My top picks for examples would be Engaging with Penangites and Malaysians Manganiyar Seduction and Sutra - I am working at developing Malaysian shows to bring them Our people need to own the festival, be proud on tours outside Malaysia. of it and also be a part of it. George Town Festival Ferries its Celebrations Other than local acts from across the country, to Butterworth – Why? we sought participation in programmes with international collaborations. Penangites shared I have always resisted expanding the festival to the hard work and pride in showcasing: areas outside of George Town. It was the cosy, compact feel that I wanted, where festival goers 100% Penang can have access to different events in a smallish area, by foot if possible. Presented in 2015 (as part of Rimini Protokoll’s 100% City project) - 100 people representing Butterworth, although only a 20-minute ferry Penang – according to gender, ethnicity, age, ride away and shared many of the same place of residence, income bracket, and a whole characteristics as George Town, was ‘begging slew of other categories – were put on stage, to be awakened’. I was asked to see what I spontaneously performing their responses to could do by the then mayor of Seberang Perai questions and queries on almost anything and Dato’ Maimunah Mohd Sharif, who had in her everything (Rimini Protokoll, 2015). masterplan to jointly create with Think City, what is now being termed ‘Butterworth Baru’. A public street performance at Butterworth Fringe Festival 2016. Image courtesy of George Town Festival. GALA by Jerome Bel They felt that having a festival would fit right Photography by Sherwynd Kessler. into the plans. I was walking down this charming Two years later, French Choreographer Jérôme street in Butterworth, and was transported back Bel brought together a group of ordinary to 1965 Malaya. It has an old Indian temple and Penangites from diverse backgrounds – a few old buildings. It was so charming and I professional dancers to amateurs, young to old, had to say yes. the disabled and the special communities – to dance. This group of unique and exclusive This was a free, public festival held on the streets, hand-picked individuals took turns in executing with shows, comedy, and acrobatic wonders different styles and genre of dances; allowing open to all over one weekend during the George the audience to be a part of the imaginative Town Festival. It was not just another event world the performers would slip into whilst on but was termed a fringe and plans for the town stage (Mackrell, 2016). council to eventually take ownership of it and run it themselves.

32 33 George Town Festival at a Glance – Over the Years If GTF helps to draw people to Penang to experience that, then I feel like it is worth all 2012 2013 2014 2015 2016 2017 the sacrifices my team and I have made and resources we have put in. EVENTS 93 145 156 137 157 150 Project for Public Spaces (PPS, 2018), a non- profit organisation, describes place-making as PROPOSALS 100 183 270 136 270 302 something that “inspires people to collectively RECEIVED reimagine and reinvent public spaces as the INTERNATIONAL 17 18 53 40 52 47 heart of every community, strengthening the EVENTS connection between people and the places they FREE EVENTS 50 114 108 99 118 114 share.” In that sense, GTF has been a big part of place-making for Penang, inspiring residents to look at its historical buildings in a new light – no AUDIENCE 151.9 205.1 218.3 250.4 238.1K 2.01K longer a stuffy, touristy building or a dilapidated (RM ‘000) wall that is always blended into the scenery, but MEDIA COVERAGE 233 238 334 395 532 506 now a stage, a canvas for a mural, a circus ring, (# ARTICLES) an exhibition space. It is funny how we might have only focused on keeping our costs down FACEBOOK LIKES n/a 14,110 35,255 42,868 50,311 56,791 by not hiring large and flashy venues, but have managed to make a big difference in place- PR VALUE n/a n/a 11.3 16.1 20.1 33.6 making as a result by inspiring people to look at (RM Millions) these public spaces in a new way.

The journey continues and I am honoured to Impact of George Town Festival and Its is knowing how easy it is for our visitors to get have been a part of Penang’s place-making. Role in Place-making around, to take in art exhibitions, shows, outdoor After eight years, turning Penang into a vibrant performances, workshops and more all in a day, cultural and creative venue, we are ready to George Town is a large city by Malaysian even when they’re scattered around town. Travel embark on our next phase – a focus on the standards but by world standards, it is small, is an expense we can cut down on – the focus is ASEAN region overall. While Penang has long with a little over 700,000 residents on the on the art. been an entrepot between the east and west island itself. Compare that to some of the large for trading, let it now be the platform for the cultural hubs of the world and people may And for artists, it is a very interesting place to exchange of art and culture. wonder, “can George Town have the capacity live and work. It is affordable, which is very and room to host a large scale arts festival?” But important for artists, and I think it’s a good I describe my approach with the arts, and with according to Charles Landry– “for the first time in sign for creative cities when young artists come GTF, as looking at the people who can’t afford history, size and scale do not matter anymore. Large and brave it and spend two, three years here, the arts, who have never been, who have been cities no longer have the automatic advantage … in exchanging ideas with their peers around them. put off in the past because they don’t understand surveys of the world’s best cities, (smaller) cities always It’s a good start for creativity. it, and make them feel comfortable. Art will come on top. Most are below 2 million inhabitants. They always be for the people, and if just one person are walkable, accessible and networked.” This very Sometimes, people ask if GTF has transformed walks away feeling inspired or excited by what much applies to George Town as well – with its or defined Penang, I think it is just a piece of the they have seen, that is all I can ask for. distinct charm and small scale, it is much easier puzzle that helps to paint the full picture of what to navigate for artists and art-lovers. Penang is and can be. I have lived in Penang for almost all of my life and loved its strong charm and The community is small, and as a result, it is easy merit. The UNESCO listing brought new meaning to bring together the best artists and finest talents to the people of George Town. It turned a sleepy to collaborate on programmes and projects. town to a cosmopolitan state thriving with arts and The joy of hosting a festival in George Town culture, at every turn one takes.

34 35 Kenneth Kwok Assistant Chief Executive Officer (Planning and Engagement) National Arts Council

Kenneth is the Assistant Chief Executive Officer (Planning & Engagement) at the National Arts Council overseeing the Strategic Planning and Research teams as well as initiatives in community & youth engagement, arts education and capability development. A former secondary school teacher and vice principal, he has been involved in community arts projects over the years with various arts groups. Kenneth has also served as an adjunct lecturer for Educational Drama at the National Institute of Education, and has conducted applied drama workshops for students, teachers and community workers both in Singapore and overseas. An occasional playwright and former arts writer and co-editor of online arts journal, The Flying Inkpot Theatre and Dance, Kenneth holds an Ed.M in Arts in Education from the Harvard Graduate School of Education and is currently pursuing an MA in Creative Writing at LASALLE College of the Arts.

Kenneth also sits on the boards of *SCAPE and the Yong Siew Toh Conservatory of Music in Singapore.

Anchors and Bridges: The Work of the Singapore National Arts Council in Cultural Diversity

Arts and culture have played a vital role in nation-building in Singapore. The results of the 2015 Population Survey conducted by the National Arts Council show that 89% of Singapore residents agree that the arts give us a better understanding of people of different backgrounds and cultures, 78% agree that the arts give us a greater sense of belonging to Singapore, and 78% agree that the Bibliography arts say who we are as a society and country. Cultural policies and programmes in Singapore have approached this in two ways. The first is the continued emphasis on not simply the preservation 1. “Melaka and George Town, Historic Cities of the Straits of Malacca”, UNESCO, https://whc. but also the celebration of traditional art forms so that the identity of multicultural Singapore unesco.org/en/list/1223 is reinforced. This also acknowledges the arts as a means by which we pass down our cultural values and norms. This presentation will describe some of the council’s initiatives such as the Seed 2. “What Is Placemaking?” Project for Public Spaces, 2018, https://www.pps.org/article/what-is- Grant for Traditional Arts companies and the Traditional Arts Taster Programme for Pre-Schools, placemaking and also investigate the challenges and opportunities faced, for example, in defining traditional arts in Singapore as the country’s cultural profile continues to evolve. The second approach is to 3. “100% City”, Rimini Protokoll, https://www.rimini-protokoll.de/website/en/projects/100- explore how the arts can be used as a platform to create more cross-cultural experiences so that stadt-7-1 people of different ethnicities learn about one another’s customs and beliefs. The presentation will therefore also discuss how the council encourages inter-cultural collaborations as well as curates and 4. Mackrell, Judith, “Jérôme Bel: Gala review – this show reminds programmes inclusive arts experiences. us how it feels when we dance”, The Guardian, October 19, 2016. https://www.theguardian.com/stage/2016/oct/19/jerome-bel-gala-review-sadlers-wells

36 37 Reinforcing Singapore’s identity as a multicultural Credit must also be given to our national arts ANCHORS AND BRIDGES: society is important so that all Singaporeans can institutions. The Esplanade, for instance, THE WORK OF THE SINGAPORE NATIONAL see that there is a place for everyone here, that this organises culturally specific arts festivals is our home. Having active, vibrant, and admired throughout the year - namely, Huayi, Kalaa ARTS COUNCIL IN CULTURAL DIVERSITY artists and arts groups within each of our main Utsavam and Pesta Raya. These are timed to cultural groups means that we see our traditions coincide with the respective ethnic celebrations, and values being respected, our cultural icons allowing commissions and showcase and mythologies revered. This translates into a opportunities to traditional arts groups. These stronger sense of belonging. artists are often invited to perform at the Esplanade’s broader art-form specific festivals In 2010, the Council launched the Traditional as well. Chowk Productions, is one such invitee. Kenneth Kwok Arts Plan to help provide more opportunities It has performed at both Kalaa Utsavam, the Assistant Chief Executive Officer (Planning and Engagement) for Singaporeans to “explore their roots venue’s festival of Indian arts, as well as its da:ns and achieve a deeper connection with their festival which is not culturally-specific. National Arts Council communities”. This was done through over 100 traditional arts groups as well as 1,400 arts As in many countries, the population activities a year (about 19% of the total arts demographic continues to evolve in Singapore. performances a year) “[serving] as the basis for How do we continue to define what constitutes our national identity and cultural continuity” traditional arts in Singapore as we shift (National Arts Council, 2017). A total of increasingly beyond our Chinese-Malay- The arts have always been a vital component of Yew expressed that, “in the course of time, out S$23 million was set aside to be invested over Indian-Others framework? According to the nation-building efforts in Singapore mainly due of the interaction of our rich and varied cultures, five years in support of the various initiatives Department of Statistics (Singapore) website to the fact that Singapore has drawn immigrants we will be able to breed a new strain of culture … under the plan. A dedicated Traditional Arts (Department of Statistics Singapore, 2018), an from across many countries and cultures. Here, under open skies, Malays, Chinese, Indians Seed Grant, for example, was introduced in estimated 30% of people living in Singapore will, I hope, discover the materials for a national 2011 to help traditional arts groups strengthen at present are neither Singapore citizens nor Our nation’s leaders recognised early in the art and national culture” (Wong 2017, 7). their organisational capabilities. Today, many Permanent Residents. In addition, 20% of all country’s development the capacity of the arts of these groups such as Apsaras Arts Ltd. and marriages now involve people of different races to bring diverse communities together. The arts Roughly 60 years on, the results of the 2017 Siong Leng Musical Association are now part (Choo, 2017). Even within cultural groups, provided opportunities for shared experiences, Population Survey on the Arts conducted by of the Council’s Major Company1 scheme. internal diversity is growing. For example, the fostering of national pride, and the creation the National Arts Council show enduring public They play a crucial leadership role in our local Indian immigrants to Singapore continue to be of narratives and symbols that could articulate a support for the importance of the arts in city arts scene alongside their counterparts in the drawn from across the subcontinent. Internal common identity, experience and aspiration. life, with: contemporary art forms. diversity can also be observed in immigrants 1. 89% of Singapore residents agreeing that the from China. Tensions around newly naturalised This was especially important for Singapore arts give us a better understanding of people The plan also makes advocacy and audience Singaporeans as well as differences in languages during our early years of independence. The with different backgrounds and cultures; development a priority as some members of and social conventions also present new Ministry of Culture was set up in 1959 under 2. 78% agreeing that the arts give us a greater the public may have preconceived ideas about challenges. The cause of these tensions can, Minister S. Rajaratnam to embark on “a sense of belonging to Singapore; the traditional arts. It is therefore important to however, also be opportunities. conscious and deliberate effort to help shape 3. 78% agreeing that the arts reflect who we create space for the traditional arts to be (re-) a Malayan culture” (Wong 2017, quoting are as a society and country; introduced to the public, allowing the quality How can the evolving role of the arts help, not Rajaratnam, 5). This came in the form of 4. 78% agreeing that the arts help to draw of the work to convince and convert audiences. only in mitigating such tensions, but actually public exhibitions at community centres and Singaporeans closer as a community. Over the years, the Council has worked with draw on these differences to foster stronger, performances at the Singapore Conference Hall. various partners to provide traditional arts more cohesive communities? One of the Ministry’s flagship programmes Cultural policies and programmes in Singapore groups with high-profile platforms to reach new was the Aneka Ragam Ra’ayat or People’s Variety continue to recognise the critical role played by the audiences. In 2016 the Mid-Autumn Festival at This is why, even as we deepen support for Show. This was an outdoor event with broad- arts in our multiracial society. Continued emphasis Gardens by the Bay, for example, featured 416 individual forms of traditional art, we must also based appeal featuring Chinese, Indian, and is placed not only on the preservation, but also performers, and enjoyed a crowd of 61,000. continue to create more points of intersection Malay performers. The first such showcase the celebration of traditional art forms, especially across cultures, and broaden opportunities for was launched in 1959 at the Singapore Botanic those of Chinese, Malay, Indian and South Asian Gardens, where then-Prime Minister Lee Kuan heritage as the majority cultures in Singapore.

38 39 Singaporeans to access and understand people Such initiatives expand offerings in schools Theatre Institute, a theatre school which for easy sharing with the wider public, and of different ethnic backgrounds. beyond what the schools’ own arts teachers emphasises intercultural forms in their training. to ensure oral traditions and practices passed can provide. More recently, the Council has down from one generation to another through The Council’s second approach is, thus, to also started a series of taster music, dance, With the increased ease of subtitling, not only apprenticeship are not lost. Another highlight actively explore how the arts can provide and storytelling programmes specifically for is access widened to non-native speakers, more is the setting up of a traditional arts centre, more cross-cultural experiences. Knowledge pre-schools and kindergartens to introduce theatre groups are creating works that feature scheduled for launch in the first half of 2019. is understanding. The NAC believes that by traditional art forms in a fun and accessible multiracial casts speaking in multiple languages Situated at the former Stamford Arts Centre, and providing people of diverse ethnicities with the way to children from the Nursery Two to as part of the performance. Recent examples located opposite the Sri Krishnan and Kwan Im platforms to learn about one another’s customs Kindergarten Two levels. Another school include The Necessary Stage’s Model Citizens, and Thong Hood Cho temples, the centre is expected and beliefs, barriers can be broken down. Similar programme of note is the Dance Talent Wild Rice’s ambitious Hotel which told the story to house around eight to ten tenants. These will to the Aneka Ragam Ra’ayat, free or low-cost Development Programme, a partnership of Singapore’s history through the decades, and be either traditional arts groups or artists keen to community-oriented arts festivals therefore between the Council, the Ministry of through characters speaking in English, Malay, work with such groups, as the Council is mindful continue to be run by the Council. These are Education, and LASALLE College of the Arts, Hokkien, Cantonese, Mandarin, Tamil, Urdu, of the need to foster partnerships, including designed to be both accessible and appealing to a which was launched in 2013. About 150 – 170 Tagalog, and Japanese. those in the wider culturally rich Bras Basah wide audience. The inclusion of traditional artists Secondary Two and Three students who are precinct where the centre is located. “Our vision and groups at events (such as the Council’s Arts passionate about dance, from around 50 – 70 Hotel which premiered at the 2015 Singapore is for traditional groups that also think about in Your Neighbourhood series) in town centres secondary schools, come together each year for International Festival of the Arts commissioned contemporisation … collaborations that may result in opportunities for them to extend their a series of workshops conducted by six dance by the Council, is an example of how the arts be interdisciplinary or looking at contemporary work to a culturally diverse crowd, beyond the companies covering six dance forms. These can invite conversations about national identity, versus traditional forms,” explains Elaine Ng, usual audience that supports their performances. include the Chinese Dance (Singapore Chinese and what it means to be Singaporean, forging Senior Director, Performing Arts at the Council Spectators are also exposed to innovative Dance Theatre), Indian Dance (Bhaskar’s deeper understanding through reflection, (Martin, 2018). work by artists trained in both the traditional Arts Academy), and Malay Dance (Era Dance dialogue, and critical discourse. These works and contemporary arts, such as Maya Dance Theatre Ltd.). It is an opportunity for these speak powerfully to the wider Singapore public The Literary Arts department of the Council Theatre, P7:1SMA, and SA the Collective. These fourteen and fifteen-year olds to make like- because they are contextualised within, and will also continue to increase its emphasis performers challenge outdated expectations minded friends from different schools, and also address very Singaporean experiences and on supporting translation work in Singapore of cultural traditions. In addition, the public bond over a common love for the arts. More concerns. Under its Both Sides, Now banner, to bring stories from different cultures and nature of such events mean they are attended importantly, it means students trained in one Drama Box presents interactive community languages to a wider pool of readers. Alongside by new Singapore citizens as well as migrant and cultural dance in their own school Co-Curricular performances and visual art exhibitions that deal the existing Publishing & Translation grant and transient workers living in Singapore. Activity, for example, are now exposed to other with the topic of living with dying, and brings new capability development opportunities for cultural dances as well, and learning them from these to open-air public squares. People from translators who aspire to upgrade their skills, Cultivating the young is, of course, key, and so, the leading Singapore professionals of that different backgrounds converge, and engage literary translation has also been articulated strong school programming is crucial. From form. The Council believes it is very important one another on issues that matter to them. as one of the priority areas for the Council’s humble beginnings in 1993, the Council’s for children of all races to be introduced to - The company’s Trick or Threat, a forum theatre Creation Grant as well as its undergraduate and Arts Education Programme (NAC-AEP) and inspired by - artists of different cultures piece, dealt specifically with the issue of what postgraduate scholarship schemes. database now lists nearly 2,000 arts enrichment and traditions, and to cultivate an appreciation it means to be a true “community” in the event programmes which schools can purchase at of their creative talent. of terror on Singapore’s underground transport Questions remain as Singapore continues on its subsidised rates, with funding from the Tote system. Do you stay united as a people, or do journey. Firstly, how explicit should we be when Board Arts Grant. Since 2001, the Council Of course, the works themselves can also cross- you allow yourself to fall apart because of racial creating opportunities for the arts to address has also run an Artist-in-School Scheme: a cultural boundaries. The Council supports stereotypes and prejudices? Such programmes cultural differences? We have noted above some match-making programme connecting artists many productions, bringing artists of different by socially conscious arts groups expand the examples of programmes where the emphasis is to schools which want to cultivate a long-term ethnic backgrounds and practices together to national conversation beyond one’s ethnic on the distinctive qualities of different cultural partnership. Traditional arts feature significantly create striking and original presentations. An identity towards a larger one as a Singaporean. art forms, and others where we simply want in both these flagship programmes, with Ding example is Crossing Cultures by the Singapore to allow the space for a more organic, shared Yi Music Company, NADI Singapura, Sri Chinese Orchestra which featured Eurasian, The Council remains committed to the Traditional experience to emerge. Secondly, if we view the Warisan Som Said Performing Arts Ltd., the Indian, and Malay performers collaborating Arts Plan, with $5M now set aside annually from arts as a tool for helping us articulate a national Temple of Fine Arts, and the Teng Ensemble with Chinese musicians. TheatreWorks is one when the first iteration of the plan concluded in identity, then we perhaps need to be clearer about being just some of the traditional groups company with a long tradition of intercultural 2015. One vital component is the establishment what is considered “uniquely Singaporean” art. available to schools for NAC-AEP workshops, works, drawing on practices from across Asia. of a traditional arts digital repository where Is it a specific cultural identity? Our own unique assembly shows, and excursions. Also worth highlighting is the Intercultural source materials will be digitised and compiled mix of cultures? Or anything that is rooted in the

40 41 Singapore experience, made by artists holding a pink Singapore identity card? What about immigrants who have lived in Singapore for many years and had been nurtured and inspired by Singapore?

Finally, when we talk about being a truly inclusive society, we need to consider the role arts can play to bring all of us together, not only in terms of race and cultural identity, but also people of different abilities and disabilities, economic and educational backgrounds, and points of view.

Bibliography

1. Choo, Felicia. “One in five marriages here is inter-ethnic.” The Straits Times, Jul 19, 2017. Accessed Jan 19, 2018. straitstimes.com/singapore/one-in-five-marriages-here-is-inter-ethnic.

2. Department of Statistics Singapore. “Population and Population Structure.” Assessed Jan 19, 2018. https://www.singstat.gov.sg/find-data/search-by-theme/population/population-and- population-structure/latest-data.

3. Martin, Mayo. “Traditional arts to find a new home at redeveloped Stamford Arts Centre by 2018.” Channel News Asia, Apr 25, 2017. Accessed Jan 19, 2018. https://www.channelnewsasia.com/ news/singapore/traditional-arts-to-find-new-home-at-redeveloped-stamford-arts-8789738.

4. National Arts Council. “2017 Population Survey on The Arts. National Arts Council.” A version of this paper was first presented at the National Institute of Education (Singapore) Assessed September 2, 2018. https://www.nac.gov.sg/media-resources/press-releases/2017- on 26 April 2017 at the UNESCO-NIE Centre for Arts Research in Education (CARE)’s Population-Survey-on-the-Arts. International Perspectives on Cultural Diversity and Arts Education forum. 5. National Arts Council. “Singapore Arts Scene: Traditional Arts.” Assessed Jan 19, 2018. Notes: 1. The Council provides organisational funding to identify Major Companies for a commitment of three years, as opposed https://www.nac.gov.sg/singaporeartsscene/traditionalarts.html. to funding on an individual project basis. A Major Company must produce work of high quality, contribute significantly to the arts scene in Singapore, and have strong administrative and organisational structures. Major Companies referenced in this 6. Wong, Mercy. A City of Culture: Planning for the Arts. Singapore: Centre for Liveable Cities, 2017. paper include TheatreWorks, Intercultural Theatre Institute, The Necessary Stage, Wild Rice, and Drama Box.

42 43 Jumaldi Alfi Co-founder and Member of Jendela Art Group The Artist’s Role in Society

In Yogyakarta, Indonesia, almost all arts and cultural events and programmes are grounds up Jumaldi Alfi (b. Lintau, Sumatra, Indonesia) consistently explores new possibilities in painting. Over initiatives, where senior artists are vital in nurturing and growing the artistic endeavours of both the past ten years, his paintings have shown this evolution of themes and styles. He is particularly young and established artists. known for his compelling personal iconography of visual signs, reflecting existential and spiritual experience on an individual and collective level. In creating his comprehensive painting series such SaRanG Yogyakarta, a complex of buildings in the district of Kalipakis, which today is home as Blackboard Paintings, or, more recently, the series of Melting Memories, Collage Paintings, Alfi to several organisations, from art management offices to artist-run exhibition spaces; a complex draws on a scope of references from text to empirical objects of the natural world to Renaissance network of institutions, all of which are directly or indirectly related to Jumaldi Alfi and together paintings and his own memories; the effect of his work being mysterious and intimate. present a serious piece of infrastructure for the visual arts in Yogyakarta and beyond. Jumaldi Alfi lives and works in Yogyakarta, Indonesia and has exhibited extensively in Asiaas Coming to the city as a young student, Jumaldi Alfi quickly observed that organising yourself on well as internationally. Recent important exhibitions include Re-reading Landscape, Mooi Indies, the basis of shared interests and experiences helps to cope with the challenges young artists in a ARNDT Singapore, 2014 and Do not Shoot the Painter, UBS Collection exhibition, Galleria d’Arte young state with a close to non-existent infrastructure for the visual arts are presented with. As a Moderna, Milan, Italy, 2015. Alfi is a member of the artists’ group Jendela and a co-founder of consequence he was the driving force in co-founding the artists’ collective “Jendela”. Soon however, the artists’ initiative and cultural platform OFCA International (Office For Contemporary Art). As the artist also realised that, next to artistic cooperation and exchange, starting with the artist’s studio, co-founder of several artists collectives he developed SaRanG, a location which provides a physical a sound physical infrastructure was needed in order to help realise one’s mission and vision and infrastructure of several buildings hosting different art institutions in Yogyakarta, Indonesia. started building in the district of Kalipakis. What SaRanG represents today is the result of an organic development, dependent on economic resources, personal relations and sometimes even chance. On the basis of all of this, however, lies the conviction that being an artist implies more than making art as a commodity. It is about posing questions, stating examples and making the world a better place using aesthetic means.

Jumaldi Alfi will talk about his engagement in the local art scene in Yogyakarta and his collaboration with Office For Contemporary Art, with which he co-founded OFCA International in 2011. He will talk about OFCA’s shared mission to advance the artist’s positive role in society through a varied, open, and practical dialogue about contemporary fine arts and about the necessity to support and advance academic discourse as well as the development of skilled professional human resource for the organisation of and around contemporary art.

44 45 Today OFCA International is developing how SaRanG is turning Yogyakarta into a THE ARTIST’S ROLE IN SOCIETY exhibition concepts, giving lectures, and doing contemporary artists’ hub in Southeast Asia and writing and research in the fine arts which have creating a place for experimentation through been translated into successful exhibitions such mentorship of both young and senior artists. It as ‘Prima Visione’ and ‘RE-PLAY’, which have is a place for an exchange of ideas and to create shown the works of famous Indonesian and new works of art. foreign contemporary artists such as Indonesia’s Jumaldi Alfi Heri Dono, Entang Wiharso, Anusapati, SaRanG offers not only a space for artists to Handiwirman Saputra and Philippines’ Sciascia exhibit their art but it is also an eco-system Co-founder and Member of Jendela Art Group and Sally Smart among others over the years for contemporary artists, critics, reviewers and 2013-2018. academics to discuss new trends, exchange ideas and mentor each other. This shows how In the course of curating and producing the community at large can play a critical and exhibitions, programmes and publications, leading role in shaping the cultural landscape by OFCA International collaborates with other calling for artists to step up to mentor and to SaRanG BUILDING PLAY programme which later developed into a overseas institutions such as Black Cat build the capabilities of younger artists, share larger programme. Publishing in Berlin, graphic design Studio, resources and experiences, unify the community The SaRanG Building Complex (SaRanG) is Laucke-Siebein in Amsterdam/Berlin, and local through arts and is a strong affirmation that arts an art space/venue founded by Indonesian SaRanG has become the venue for OFCA organisations such as pARTner Yogyakarta, can grow organically. Through SaRanG and contemporary artist, Jumaldi Alfi, and has been International and pARTner Yogyakarta Kersan Art Foundation, Studio Kalahan, other initiatives, established artists contribute open to the public since 2013. SaRanG was programmes and it is also open to collaboration and art historians from Freie Universität and to Yogyakarta’s vibrant, nurturing and inclusive Alfi’s contribution to the nurturing and growth with other art institutions in organising Humboldt Universität Berlin, Yogyakarta Open local arts scene, particularly where government of Indonesia’s Fine Arts scene, particularly in programmes through OFCA International and Studio (YOS), Berlin Open Studio (BOS) as funding and museum infrastructure are limited. Yogyakarta. The name SaRanG is the result of pARTner Yogyakarta. well as galleries and museums internationally. discussions with Enin Supriyanto - a curator, writer, and art observer/art critic. It was an Office for Contemporary Art pARTner Yogyakarta expression of the founder’s desire to create a (OFCA International) place where artists can meet, discuss, exchange To meet the needs of artists and art institutions, ideas, and explore processes in art making. In the OFCA International is an initiative by Berlin- pARTner Yogyakarta was setup by several midst of such excitement, the word ‘SaRanG’ based art historian, Astrid Honold and young artists and art enthusiasts. The institution was blurted out spontaneously. It was inspired Indonesian artists, Jumaldi Alfi and Fendry Ekel. is regularly engaged in collaboration to organise by the house, place, or space where birds would events. lay eggs in and suggests a concomitant sense of The idea of establishing OFCA International comfort and wilderness within a bird’s nest. started in 2004, in Astrid Honold’s office in pARTner Yogyakarta consists of Desrat Amsterdam. Honold had gained her experience Fianda, Fanti Sulistyaningsih, and Nissak The complex has a gallery as its main facility through coordinating worldwide exhibitions for Latifah. Since 2013, pARTner Yogyakarta has which presents Indonesian artists’ works the renowned international design label Droog initiated a partnership with OFCA International either as a solo or joint exhibition. It has three for almost a decade. in Re-PLAY programme and any other OFCA residency units (each of which includes a International programmes held in SaRanG. bedroom, pantry, bathroom and terrace) and OFCA was established to position active and In addition, SaRanG is also involved in the one Joglo1 which functions as the meeting room skilled Indonesian artists within an international implementation of Yogyakarta Open Studio, or venue for other activities such as artist talks, context. The organisation is based on a shared Kersan Art Foundation residency programme, discussions, lectures, etc. mission to advance Indonesian artists’ positive and organising exhibitions at LATAR, BTPN role in society through a varied, open, and Sinaya, Jakarta with Budi Lim Architect. SaRanG is currently managed by Office For practical dialogue about contemporary fine art. Contemporary Art International (OFCA) and The Annex to this essay showcases some of pARTner Yogyakarta, and it also functions as In 2011, OFCA International moved from the major exhibitions and programmes that both their organisational base. Both organisations Amsterdam to Indonesia and is now located at SaRanG has organised in partnership with organised SaRanG’s grand opening, with the Re- Sarang I in Kalipakis, Yogyakarta. OFCA and pARTner Yogyakarta and highlights

46 47 Annex X-Change Solo Exhibition by Desrat Fianda 3 – 23 October 2017 ON-GOING PROGRAMMES AT SARANG X-change is a new exhibition format developed by OFCA International to highlight the artistic “The Meeting”, the solo exhibition of Desrat Re-PLAY Prima Visione exchange between two artists: one living and Fianda presented works which are part of a working in Yogyakarta and one visiting from series related to the artist’s working process Re-PLAY is an ongoing series of solo Prima Visione is an ongoing art programme abroad. After Re-PLAY (which focused on the since 2014, where he began to create a painting exhibitions of visual art, initiated by the OFCA comprised of solo exhibitions. It is inspired by physical encounter of the audience with the entitled Malin Kundang’s Story – The Meeting. The International in Yogyakarta, Indonesia. In this Indisciplinato, the first solo presentation of Bali- existing work of an already well established painting was based on a historical photograph programme, OFCA International collaborated based Italian artist, Marco Cassani at OFCA artist), and Prima Visione, (a platform for that was taken during the preparation of the with pARTner as event organiser. International in Yogyakarta, Indonesia in 2016 showcasing a new body of work after a period proclamation of Indonesian independence as Prima Visione’s Edition #1. of intense artistic research), X-change is now in 1945. He had re-painted this painting Based on the idea that each artwork is the offering a framework to further develop and many times in an effort to understand how result of intellectual discussion – a living and Alongside its exhibition series, Re-PLAY contextualise the outcome of artistic exchange. time affects our view on historical events continuously growing process – the exhibition (2012-ongoing), OFCA International has and how history is distorted, the fragility of focuses on re-displaying works which had been developed Prima Visione to provide invited Artistic exchanges emerge almost naturally from documentation, an awareness in making history presented to the Indonesian public once before. individual artists an avenue to showcase the the activities of our residency programmes in and how to address history. In doing so, it enables the audience to analyse, result of their intense artistic research. Leaving close collaboration with Kersan Art Foundation, read and reflect the artist’s thought process in the studio, the works enter a platform of semi- which acts as a facilitator between individuals In 2017 Desrat continued his exploration a more profound way; not through the means public visibility, presenting themselves as subject and art communities either in Indonesia or by creating artworks in various media such of representation but in the form of a re- for dialogue and discourse. With its artist- abroad. By providing accommodation to foreign as photography, video and sculpture. This visitation - in a concrete, physical experience. founded background, OFCA represents an artists, an exhibition space to present their work, exhibition allowed audiences to enter the artist’s The title of the exhibition, curatorial concept environment that bridges the realm of creation mentorship and the opportunity to experience creative process to understand one event from and the selection of artworks are based on with the realm of what is to come after, allowing the daily life as an artist in Yogyakarta, it has led many perspectives and to realise that each object the Indonesian expression main (play) in its the physical experience of the artworks and to increasing interest and attention in the city as holds a wealth of additional meaning and that multiplicity of meaning. The first six editions personal dialogue about them to be the first step an artists’ and artistic hub in Southeast Asia. there is always a multi-layered story behind it. of Re-PLAY successively offered monumental in this encounter. installations by: The first edition of X-change was inspired by Art Project the long-term collaboration between Berlin Re-PLAY #1 Heri Dono – Pseudo based artist, Nadin Reschke and Yogyakarta- DURING THE EXHIBITION THE Development Ancestors based artist, Setu Legi, who have known and GALLERY WILL BE ONLINE 15 January – 15 February 2013 Prima Visione #1 Marco Cassani – collaborated with each other since 2005. Given Agan Harahap Farah Al-Kaff Re-PLAY #2 Entang Wiharso – Feast Table Incisciplinato their mutual interest in the social dimension of (laviaminora) Fluxcup 15 March – 15 April 2013 27 January – 15 March 2016 the arts, they are able to appreciate and learn Re-PLAY #3 Jumaldi Alfi – Cover Boy Prima Visione #2 Filippo Sciascia – from each other’s practice ever since. In their “During the Exhibition, The Gallery Will Be 10 May – 10 June 2013 Mata Hari exhibition, ‘Troubling Form’ they offer a visual Online” is the first exhibition from a series of Re-PLAY #4 Abdi Setiawan – Malakka Boys 20 October – 30 October 2016 catalogue of questions which they developed as three as part of the yearly programme initiated 28 June – 28 July 2013 Prima Visione #3 Yeo Kaa – a platform for open dialogue with other artists by KERSAN Art Foundation with pARTner Re-PLAY #5 Anusapati – The Shelters Distressful Satisfaction and participants. Yogyakarta focusing on digital art practices. 13 September – 13 October 2013 19 May – 19 June 2017 Through this project, we aim to present, analyse Re-PLAY #6 Handiwirman Saputra – Tutur Prima Visione #4 Sally Smart – X-change #1 Nadin Reschke / Setu Legi and discuss the subject of how digital art is Karena – Air Mata The Choreography of Cutting Troubling Forms understood as well as practiced by various young 4 April – 4 May 2014 28 October – 10 November 2017 29 March – 21 April 2018 artists in Indonesia. Re-PLAY #7 Lenny Ratnasari Weichert – Prima Visione #5 Shira Wachsmann – Dinners Club Particles of Invasion For the first season, we presented three artistic 27 July – 27 August 2017 24 February – 3 March 2018 practices that uses social media as a medium - Agan Harahap, Farah Al-Kaff (laviaminora) and Fluxcup were displayed in the exhibition as a documentation of the relationship between

48 49 the creators on social media platforms and RESIDENCY Berlin, Germany, in 2013. He lives and works Throngkiuba Yim (b. 1990, Nagaland) currently the larger public, as users of these platforms. in Berlin, Germany. Joshua is fascinated by lives and works in Kolkata, India. He studied Prior to the exhibition, the artists launched The artist residency programme is organised in materials, their developmental histories and fine arts in The Indian Collage of Arts and new postings and stimulated interaction with collaboration with the Kersan Art Foundation. historical contexts. In his work, he expresses his Draftsmanship Kolkata (BFA) and Kala Bhavan, their followers (Fluxcup and Farah Al-Kaff), or In this programme, we invite artists to live interest in the influence materials have on both Santiniketan, Visva Bharati University, India chose to present a collection of media clippings. and work at the residence for one to two the form and the reception of an artwork. Point (MFA). His work covers several subject matters In these clippings, the subject of the various months until the exhibition is completed. of departure is the material’s formal qualities such as climate catastrophe, racism, religious photographs was edited and distributed on This residency programme gives not only an and how they affect his practice. His work could intolerance and coercion of faith. Religious personal social media channels (Agan Harahap). opportunity for the artists to experience the be understood as a formal reflection on the coercion typically talks about compulsion, force art works in Yogyakarta (where Yogyakarta has concepts of art with a given material. or power exercised by the state or by other Documentation of their artistic practice are become one of the important bases of arts in organisations. There is no doubt that religious displayed in the SaRanG gallery while the Indonesia), but is in itself one of the strategies Avon Bashida (Denmark) and coercion may be exerted by non-state actors “exhibition” itself is still ongoing on their social to promote Yogyakarta as an international Throngkiuba (India) and could be more dangerous if also authorised media platforms. By launching this project, space for cultural exchange. by the state, working hand and glove with we hope to open up further discussion on the Organised by Kersan Art Foundation in misguided religious organisations. efforts to analyse the aesthetic dimensions and Mareike Jacobi (Germany) and collaboration with OFCA International and the forms of interactivity as well artistic strategy Joshua Zielinski (USA) pARTner Yogyakarta, two artists, Avon Bashida In his recent works he mostly portrays the addressed by the artists. SAME AND DIFFERENT (Denmark) and Throngkiuba Yim (India) were cartoon animal “Scrat” on his canvas as he was 15 November – 15 December 2017 invited for a two-month artist-in-residence impressed by its character which has similar Curator: Adelina Luft, Writer: Arham Rahma at Sarang Building I, Yogyakarta, Indonesia. human traits such as love, violence, ambition, Organised by Kersan Art Foundation in Both artists presented their work in their solo greed for fame, superiority chauvinism, Exhibition: collaboration with OFCA International and exhibition from 6 – 16 March 2018. selfishness and power. Throngkiuba’s choice 29 August - 28 September 2017 Tuesday - PartNER Yogyakarta, two Berlin based artists, of applying multiple layers of house-building Saturday 1.30 - 5.00 PM Mareike Jacobi and Joshua Zielinski, were invited Avon Bashida (b. 1986, Denmark) is a Danish, material on canvas correlates with the history for a three-month artist-in-residence at Sarang photographer and performance artist who of human civilisations. He paints on the layers Building I, Yogyakarta, Indonesia. Both artists explores both the human body and mind, male the subject of contemporary narrative, which presented their works of installation drawing, and female, researching anthropology and helps to reroute and also dig out the past by drawings and sculptures in Sarang Building I psychology within the history of art theory. using techniques of ripping off multiple layers from 15 November – 15 December 2017. Avon holds a BA (Honours) in Photographic by tools. This merges the past and present and Arts from the University of Westminster in brings them up, together as one surface that Mareike Jacobi (b. 1985, Osnabrück, Germany) London and an MA in Performance Studies influences and communicates with each other. graduated from Weißensee Academy of Art from Tisch New York University. Bashida’s Berlin, Germany, in 2016. Mareike uses a self- performances are expressions of physical developed system to create a series of drawings: forms which are created through painting, a square grid within which fields a horizontal photography, video and documentation. The and a vertical line cross each other at nine works are depictions of how the human race possible positions. The exact positions of the experiences itself—opposite to how it is placed lines are determined at random by the rolling in the world regarding gender, race, geography of a dice. From this “sub-grid” she developed and intimacy. variations of drawings by connecting points within the grid. In her artwork, she explores the By referring to both anthropological and different aspects of pattern and pattern-making. psychological studies, Bashida unpacks human For example, our ability to recognize patterns – existence by pushing cultural ideals and physical to orientate in space and time – as well as our boundaries, questioning stereotypes using the need to find or to find order by creating our body. A key element in Bashida’s work is how the own patterns. subjectivity of the human mind makes the viewers incapable of experience without a pre-distinct Joshua Zielinski (b. 1986 in Michigan, USA) approach, disposing of our relation to others only graduated from Weißensee Academy of Art in through the understanding of ourselves.

50 51 LECTURE

FUNDAMEN+ Adib Jalal Co-Founder of Shophouse and Co The Lecture series, Fundamen+ was created to present an architectural discussion forum that is educational, constructive, and professional. These lectures are held every three months and invites viewers from any background, but particularly for architecture students, to meet architects and other related professionals to discuss basic matters of everyday life and space Adib Jalal is a place-maker, design curator, and community organiser whose life and work is a which have not been discussed in depth before. continued exploration of making our cities creative and inclusive places to live in.

The first Fundament lecture was an architectural He is currently the Co-founder and Director of place-making studio, Shophouse & Co, a consultancy discussion between architects and professionals that helps developers and communities create programmes and interventions that bring positive concerning architects’ role in everyday life. social and economic impact for the space and community. There will be a specific architecture-related theme for discussion at every lecture and all Previously, Adib was the Festival Director of Archifest (2012 to 2013) where he restructured the discussions, ideas and decisions will be recorded festival to its current form by introducing the Archifest Pavilion competition and other content and archived for research in the future. pillars alongside a new visual identity. Prior to that, he had stints as a lecturer at Temasek Polytechnic’s School of Design, as a multi-disciplinary designer at award-winning design studio, FARM, and as FUNDAMENT + # 1 Architecture + the Founding Editor of FIVEFOOTWAY, one of the pioneer blogs about Asian cities which he Individual, speakers: Ms Judy Pranata & Mr co-founded in 2007. Passionate about nurturing communities, Adib also lends his time as a design Yoshi Fajar Kresno Murti mentor alongside contributing to his neighbourhood’s grassroots organisation.

FUNDAMENT + # 2 Architecture + Archive, Adib holds a Bachelor (Hons) Architecture from National University of Singapore. speakers: Mr Setiadi Sopandi & Mr Dirk Laucke

FUNDAMENT + # 3 Architecture + Nature, speakers: Mr Ng Seksan & Mr Paul Mintarga The Catalytic Effect of Creative Place-making

Place-making is a people-centred approach of building up the character and quality of a place. It is an organic process that involves the community, private, and public stakeholders to create a vibrant place that is sustainable. Specifically, in the field of “creative place-making”, this process leverages on the collective creativity of artists, creative practitioners, creative entrepreneurs, and regular citizens, to innovate new possibilities for the city and its urban spaces.

As a private place-making consultancy, Shophouse & Co considers the vitality of the city and its urban spaces core to its work. Playing the role of facilitator amongst various stakeholders, we use our projects as platforms for creativity to thrive and add social, cultural, and economic value to the urban space.

This presentation will showcase selected creative place-making projects that were designed to inspire Notes: and demonstrate possibilities for the urban space with a view to spark long-term change. These projects 1. Joglo is a type of traditional Javanese architecture and refers to the shape of the roof. In Javanese society, the type of will also illustrate how they were used as a platform for various stakeholders to express their creativity roof of a house reflects the social and economic status of the owners and Joglo houses are traditionally associated with the and be involved in the re-imagination of their city and urban spaces. Javanese aristocrats where it can be built as part of a house or as a pavilion.

52 53 installations and street closures, and neglected diversity of ideas and bonds in the communities. THE CATALYTIC EFFECT OF CREATIVE to critically question if and how these improve A city with a vibrant art and cultural scene is PLACE-MAKING the quality of a place and the communities in it. a sign of active citizenry, thriving with strong We bear the responsibility of asking questions entrepreneurial and creative spirit. Ultimately, such as, “How will the local community benefit these are the layers of human expression that from these projects?”, “How will drawing a add depth and meaning to the experience of our large crowd improve a sense of belonging and cities - all of which are hallmarks of great places. authenticity?”. Place-making must always be about community. However, arts & culture require space and Adib Jalal time to emerge, and public spaces have a very Co-Founder of Shophouse and Co The Role of the Built Environment in important role to play in this. Place-making Public spaces are where we, as a society and a Well designed spaces and buildings can do many city, manifest our capacity to embrace diversity. things for our sense of place. It can make us It is where we can choose to live our lives feel welcomed and comfortable, delight our outwardly, and through this expression, enable What is Place-making? Place-making or Place-taking? senses, instil a sense of pride and belonging, bonds to form and exchange of ideas to occur. communicate a neighbourhood’s identity and As communal platforms, public spaces also ‘Place-making’ is the people-centred approach In 2017, my studio, Shophouse & Co embarked history, and more. offer us the luxury to linger, and simply ‘Be’. It towards the development of the character and on a study of existing place-making frameworks is where we can pause, establish a connection quality of a place, space or land. It is both a from around the world in relation to our own Physical spaces and objects can also affect within ourselves, the urban environment around process and an attitude in urban development; projects. This study was distilled into what our behaviour and communal interaction. For us, and other people in it; and in these moments one that recognises the dynamic nature of we call the ‘Qualities of a good place’. What example, a public space without public furniture enable gestation of the creative spirit. cities and its communities, and one that puts we found is that these qualities are people- would not welcome people to linger. At best, it utmost importance on the benefit and welfare centric; often featuring a direct relation with would be a space to travel through. Likewise, a Through the cultivation of public life, we can set of the people. one’s positive physical, mental, and emotional public space without shade would be a wonderful up the conditions for arts & culture to emerge relationship with the location. That is the key urban planning gesture, but of little use to the in an authentic and organic manner, and making Place-making is often employed without first to good place-making and we hope to publish community especially in a tropical country such our public spaces great places for people is a qualifying the character of the land. Property insights to this study at a later date. as Singapore. It might be a venue for intentionally step in that direction. owners and developers commonly want a place planned events, but never for informal and to be “highly vibrant and exciting”; however, As a studio, we approach place-making in a spontaneous use by the community. Place-making Singapore this may not always be desired. discipline-agnostic manner: this means we leverage the tools, skills, and output of various Through the lens of place-making, buildings, Singaporeans are now actively pursuing their For example, the character of the land could disciplines to create good places for people to and urban spaces are in themselves not the city. need for a sense of belonging, and holistic be inherently quaint, peaceful, and laid-back. In live, work and play. Over the past five years, They are merely the props and backdrop for our wellbeing. We crave to deepen our connection such a scenario, we need to ask if our actions Shophouse and Co has executed a wide-range lives. It is through shaping our built environment with the city and with each other. We are and projects add value to this quality, or if it of deliverables: from one-off to recurring sensitively, encouraging the community to use it, pursuing the aspiration of an environment ends up destroying what is present. ‘Vibrancy’ events, design and building of pavilions, street that we can then build up a relationship between that enables us to thrive as we live, love, play, might not be the answer for such a place! furniture and producing strategic plans and people and place, ultimately making it not just and work. As Edward Glaser says in his book guidelines; all of it with the intent of enhancing usable but loveable. Triumph of the City, “Now more than ever, the We also need to further investigate the nature of the relationship between people and their well-being of human society depends upon our the ‘place’ that we are ‘making’ because it risks physical space. The Role of Arts and Culture in knowledge of how the city lives and breathes” excluding the existing community. Instead of Place-making Efforts (Glaeser, 2012). place-making, we end up place-taking. A place- The fact is, not all beautiful public spaces are maker has to question himself, “What kind of good places, and not all events are place-making ‘Arts & Culture’ does not happen in a vacuum Also, as a city-state, we cannot afford to get place am I trying to create?” programmes. Unfortunately, the industry is nor emerge out of nothingness but instead our city development wrong and we are now still young and we often see private and public emerge over time through the interaction at a point in human history where competition land managers and owners being seduced by of people and with the city they live in. It is between cities is intensifying due to rapid the ‘image of place-making’ such as public art therefore a manifestation of the richness and urbanisation and advancements in mobility

54 55 of people, goods, and information. While we the idea of ‘multiple bottom-lines’: where public About Place-making in the Park, have reaped the benefits of rapid development life is measured alongside these other metrics. Telok Ayer Park over the past decades, the way for us to remain relevant and competitive in the future is to Place-making is a rapidly emerging field and Located in Singapore’s busy Central Business the Light, Quick, and Cheap methodology, the elevate Singapore from a liveable city to a there are few urban practitioners working District, Telok Ayer Park sits at the intersection studio brought in movable furnitures for users, loveable city. on this front. Urbanist Jan Gehl is one such of the Telok Ayer heritage district, Singapore’s interactive art installations to create points of rarity, with his Public Life Data Protocol (Gehl CBD, and the popular Amoy Street Food interest, and even a pit stop for the food delivery These challenges are best addressed through Institute, 2018). Over at Shophouse & Co, we Centre. With its shady canopy afforded by the cyclists who are active in the district. place-making; the process which puts people have our own proprietary framework which is mature trees, it has all the potential to be a at the centre of the urban development. better able to capture the nuances of a tropical place of respite for those who live, work, and These interventions were received positively by Through this approach, Singapore can tap Asian city. Many of these frameworks embrace play in the CBD but instead, merely used as a the local community and the ideas shared to a on local knowledge and resources to create both qualitative and quantitative data, and draw transitory route. wider audience during Singapore Design Week, lovable environments and solutions that are also on research methodologies from disciplines and also with the agencies in hope that some authentic and provide people with a strong such as anthropology to measure the broad After studying the site through observations will be adopted and incorporated for future sense of ownership. Also, as place-making is an impact of place-making efforts. and conversations with users, Shophouse & development. inherently collaborative and multidisciplinary Co derived and tested their ideas that would process, Singapore could find itself innovating Conclusion encourage people to linger and use the park Images courtesy of Shophouse & Co. original and sustainable ideas for the city that during their lunch-time break. By embracing will make it a thought leader of urbanism in Discussions about our urban future in recent the world. times have often revolved around concepts like Innovation, Disruption, Smart Cities, The Future of Place-making Resilience, Arts & Culture, and Liveablity; but Place-making might be the most important Measuring the impact of place-making is a one. Its multifaceted nature lends itself to be tricky affair, something that is perhaps best a thread to tie these challenges together, and encapsulated by what Sociologist, William more importantly, the attitude towards urban Cameron said: “Not everything that can be development that ensures the community is counted counts, and not everything that counts firmly at the heart of the next evolution of our can be counted” (Cameron, 1963). city. As Jane Jacobs, pioneer in the field of place- making wrote in her 1958 essay, Downtown While there is a need to measure for diagnostics is for People, “There is no logic that can be and impact-measurement, we also need to be superimposed on the city; people make it, and highly aware what this data is telling us. Is the it is to them, not buildings, that we must fit our data acquired a proxy for an outcome, or are plans” (Jacobs, 2018). these the data points we need to optimise for? An interactive balloon-popping de-stress station. Is the value representative of the immediate impact of a project, or is that the long-term outcome that we desire?

If we only measure the performance of our urban life through financial metrics such as consumer expenditure or occupancy rates; marketing metrics such as social media following; or urban efficiency such as traffic throughput; then our city will end up being optimised for that. However, if we believe that great places are all about the relationship between people and their built environment, then we need a robust framework that embraces Overview of Telok Ayer Park during prototype day in real-life lunchtime conditions.

56 57 About Transitional___, 115 King George’s Avenue

Transitional___ by Shophouse & Co is a platform local independent businesses who were keen to that unlocks the potential of vacant spaces in test new concepts. transition to a new lease of life. Each edition of the project is an opportunity for creative Other than the physical transformation, a variety entrepreneurs to test ideas, spark collaborations of creative programmes were also organised and ultimately liven up and prototype new ideas over the 6-weeks prototype to introduce a new for the space. demographic to the neighbourhood. This was done in partnership with creatives in the area, 115KG is a building at King George’s Avenue and also emerging creative entrepreneurs such nestled in an area with hardware suppliers and as Naiise who were then only prototyping their hotels as its neighbours. It was transitioning second physical pop-up store. from its industrial past to a new lease of life as a home for creative entrepreneurs, but it was a Not long after the prototype ended, the unit transition that was uncertain due to the existing was leased to a tenant who was inspired by our character of the neighbourhood. Inspired by the prototype, and realised its potential as a hybrid raw richness of the area, Shophouse & Co then creative space with a F&B component. prototyped a hybrid retail-workshop-communal space by using industrial materials from the Images courtesy of Shophouse & Co. neighbourhood and with the support of various

Members of the public utilising our crates as temporary tables.

Overview of Transitional___01 designed to reflect the industrial heritage of the neighbourhood.

A prototype of a bicycle pit-stop with bike pump, parking, and water station. View of the pop-up retail section by online shopping platform, Naiise.

58 59 A workshop by one of the creative partners.

Bibliography

1. Glaeser, Edward L. Triumph of the City: How Our Greatest Invention Makes Us Richer, Smarter, Greener, Healthier, and Happier. Penguin Press, 2012.

2. Cameron, William B. Informal Sociology, a casual introduction to sociological thinking. Random House, New York, 1963.

3. Gehl Institute. “Launching the Open Public Life Data Protocol, Version 1.0.” Gehl Institute Blog, 20 Oct. 2017. Accessed September 1, 2018. http://www.gehlinstitute.org/news/launching-open- public-life-data-protocol-version-1-0/.

4. Jacobs, Jane “Downtown is for People” (Fortune Classic, 1958). Fortune Magazine. Accessed September 1, 2018. http://fortune.com/2011/09/18/downtown-is-for-people-for- tune- Before the conversion of 115KG building. classic-1958/.

60 61 PARTNERS Organised by

Culture Academy Singapore would like to thank our generous partners, whose contributions have made this conference a reality.

We thank the following organisations and institutions for their partnership, advise, goodwill, and friendship.

In Partnership With

Supported By

62 63