2010 Arts Community Position Paper on Censorship and Regulation

1 To: Censorship Review Committee (CRC) 2009/10 Ministry of Information, Communications and the Arts (MICA) Prime Minister’s Office (PMO)

Introduction

In mid-2009, members of the Singapore arts community came together to select candidates for consideration as Nominated Members of Parliament (Arts, Media and Sport). Following the successful application to the position by one of their selected candidates, Audrey Wong, 180 members of the community interested in developing a more sustained engagement with issues relating to cultural policy and the creative professions came together under the loose name ‘ArtsEngage’.

In May 2009, the Ministry of Information, Communications and the Arts (MICA) announced a mid-term censorship review. Feeling that they could make a useful contribution to this process, ArtsEngage proposed 22 names for inclusion in the Censorship Review Committee. None were selected.

Over the following months, interested members of the arts community (including practitioners from theatre, film, the visual arts, the literary arts and other forms) have continued to engage with the Censorship Review process. This has included:

Email discussion on ArtsEngage Being interviewed by the press Meetings amongst interested practitioners, and discussions with the public A review of earlier CRC reports, and of ‘best practices’ in other countries A survey of censorship experiences by a diverse range of practitioners (See Appendix 1) Participation in CRC focus groups Discussions with individual members of the CRC A presentation to the CRC Participation in a follow-up presentation by the Media Development Authority (MDA)

ArtsEngage would like to place on record its thanks to individual members of the CRC who met for frank and open conversations, and to the CRC for inviting it to address the Committee on 9 February 2010.

This position paper represents one outcome of this on-going process of consultation and debate.

2 Basic Position

The basic position of the arts community on censorship and regulation has changed little from that articulated in the 2003 “Arts Community Proposal” submitted to the CRC of 2002/2003. There, our position was “Yes to regulation, no to censorship”. Subsequent experience, however, has caused us to reformulate our position slightly more insistently: Censorship isn’t working: regulate instead.

Censorship entails proscribing content, prohibiting its public presentation, and/or preventing its creators from working towards its realisation. While conducted by civil servants who may sincerely believe they act in the name of the public good, censorship is often politically motivated, and always arbitrary. It fosters a culture of dependency on the part of the public, timidity on the part of institutions, and resentment or self-censorship on the part of content producers. It is costly, inefficient, and dignifies no-one.

Regulation entails the disinterested classification of content according to publicly available guidelines. It enables access to the widest choice of content for the greatest number of individuals. It promotes responsibility on the part of all stakeholders, and transparency and accountability within and between institutions. Disagreements and contested decisions are resolved through an open and inclusive appeals procedure. Regulation is no panacea, but by comparison with censorship, it empowers applicants, decision-makers and audiences alike.

Of course, there is already a substantial regulatory component to the current censorship regime in Singapore. Indeed, it is because the foundations of a regulatory infrastructure are in place that divesting institutions and mindsets of censorious procedures and attitudes is not only sound in principle, but possible in practice. This does not mean, however, that ‘tweaking’ the system will suffice, since, in our view, the problem is systemic. As long as regulation and censorship are confused, the exercise of the latter will continue to impede the transparent and accountable execution of the former.

It may be the case that in some areas of cultural production and content management, distinguishing between censorship and regulation is a less pressing concern than maximising profits. We are also aware of a perception in some quarters that artists represent a ‘vocal minority’ at the ‘libertarian’ end of a spectrum, with ‘concerned parents’ and ‘social conservatives’ at the other. This is untrue. We are a diverse group of individuals brought together not by a sense of self-righteous indignation or the need to defend abstract values, but by long experience of dealing with the current and previous censorship regimes in Singapore. The comments and proposals that follow are not pie-in-the-sky ideals, but workable solutions to fundamental problems with the current system that are both principled and practical.

As citizens and residents of Singapore, we find the prevalence of censorship to be at odds both with the core values of democracy, equality and justice enshrined in the Pledge and instilled in us from young, and with Singapore’s status as a dynamic, forward-looking society with a 21st Century economy.

As practising writers, artists and administrators, the effects of censorship impact all aspects of our creative and professional lives. In part, this is because of the uncertainty and anxiety it arouses. But, as extensive consultation with our peers has made plainly apparent to us, it is primarily because of how insidiously the censoring impulse has spread through institutions and the social body more generally. Today, the outright banning of

3 cultural products is relatively rare; but censorious interference by the state in all levels of the creative process and the presentation of its outcomes is all too common. This, in turn, appears to have fed a risk-averse culture among institutions that take their cue from government, and an expectation of censorship-on-demand among certain individuals within society. In light of the very real social and moral challenges Singaporeans face in the global age, this situation is untenable.

In what follows, we summarise our perceptions from the receiving end of the current censorship regime, and outline how we think the system can be improved.

Problems of Censorship

Lack of clarity and transparency about rules and processes Timelines, guidelines and other information are not always readily available; where they are, wording can be vague, and decision-making processes obscure.

Inconsistencies in the treatment of local and foreign works Different standards are used in judging local and foreign works often to the detriment of local work

‘Censor first’ attitude On certain questions of content or form, the first impulse is to censor, with the individual merits of the case only given due consideration after the ‘alarm bells’ have started ringing.

Disproportionate response to criticism or complaints Letters of complaint to the press or government appear to trigger a disproportionate and over-cautious response. This indicates a lack of faith in the regulatory procedure, and an unwillingness publicly to defend decisions or the merits of specific works.

Inconsistency in inter-agency interactions Besides the Media Development Authority (MDA), a number of other statutory boards and ministries are involved in censoring cultural products. However, this appears to happen on an ad hoc and rather obscure basis, leaving few avenues of appeal for censored artists, who may not be permitted to know the source of the prohibition against them or their work.

Multi-level censorship The government is extensively involved in the administration, funding, promotion, housing, hosting, curating, regulating and censoring of artworks. The scope for interference both direct and indirect in the creation and public presentation of a work is therefore wide. As with the point above, the results are inconsistent, with sometimes contradictory information being given out by different government agencies, and decisions by one being reversed by another without explanation.

Existing rules flouted It appears that the demands of one ministry or agency can override the judgments of another, even where the latter has operated in accordance with available guidelines.

4 Personalisation of the process Censorship decisions seem to vary from individual to individual, demonstrating the need for more robust and transparent regulatory guidelines. Sometimes, a decision can stand or fall on personal contacts.

Culture of defensiveness, secrecy and intimidation There seems to be a general perception in government that artists are a threat, who take pleasure in embarrassing it locally or internationally. The modus operandi for censoring individuals reflects this misperception. Communications take on a furtive quality, being conducted by phone or face-to-face meetings, rather than in writing; decisions are made – or at least communicated – at the last minute; additional demands are made of artists at the precise moment they are most focused on their work; compromise solutions entail the removal of government logos from publicity.

Lack of consumer advice It is not easy for members of the public to find out why and how a given work has been censored. Informed consumer choices are therefore hard to make.

Impoverished public discourse The level of public discussion of censorship in the media is clichéd, insubstantial, and ill- informed. We take this to be symptomatic of the constraining effects of censorship itself on the quality and scope of independent thought.

Lack of independent oversight For a number of reasons, including the legacy of Emergency-era censorship and Singapore’s distinctive political culture, we could say that the government is institutionally predisposed to censor. All the more reason, then, for properly independent oversight of procedures, as well as the drafting of subsequent reviews.

Setting the wrong tone On matters of censorship, many individuals and institutions take their cue from the government. For example, an ‘Advisory’ is never just that: it can have a damaging knock-on effect on independent funding sources and school bookings, without regard for the merits either of the work, or of the decision to award an advisory.

5 Benefits of Regulation

Greater freedom of expression The arts community supports regulation without bureaucratic censorship. This means that except for materials which are prohibited by law and whose prohibition has been decided by a court of law, or where the producer of the work expressly requests it (in order to achieve a specific age rating, for instance) there need be no cuts to content.All works in the highest rated-categories can be uncut.

Greater consumer choice The aim of regulation is to enable members of the public to make an informed decision about whether or not they wish to view a work, or to allow their children to view it.

Part of the bigger picture Because censorship entails the arbitrary exercise of power, it is exceptionalist: it brooks no debate and invites no consensus. Regulation is ordinary. It takes its place in a larger system of procedures and standards, and its legitimacy rests on the quality of its outcomes. Its objectives are clear, as are its limitations. As such, it invites the active engagement of stakeholders, and establishes a clear expectation of the responsibilities they, themselves, should take on.

Increased professionalism Repeated encounters with the censors suggests to us that a culture of second-guessing and buck-passing prevails. A transparent and open regulatory system should enable decision- makers at all levels to have confidence and pride in their judgments.This will have a knock- on effect on relations with and attitudes of other stakeholders.

Depoliticisation of the process The civil service implements government policy, which is determined by the democratically elected government of the day. However, it discharges this duty in the larger service of the state. In Singapore, ‘ruling party’, ‘government’, and ‘state’ are often conflated. However, what may be in the interests of one is not always in the interests of all. Even a robust regulatory framework formulated by the state may not be able to stop party-political interference; but it should enable stakeholders to identify it as such when it happens.

A level playing field At present, local artists are disadvantaged when it comes to competing with less tightly- controlled international content and products. This is fundamentally at odds with the government’s own stated aims of developing the creative industries, and is prejudicial to local forms of expression.

The right to offend and be offended Several high profile cases of offensive speech have recently been addressed through legal avenues or by the security services. Such measures are not the hallmark of a healthy or robust society, nor do they demonstrably contribute the fostering of one. This is, of course, a contentious issue. However, we maintain that it is not the business of government to protect individuals from offence a priori.

6 Morality, not moralism All regulatory guidelines express the moral norms of a society – including the norm that entails the continued questioning of such norms. However, it is not the job of regulators to moralise. Disinterested decision-making helps guard against that.

Better censorship The arts community does not, as is sometimes misunderstood (or wilfully mischaracterized), advocate a “free for all”, with no limits on the freedom of expression. The laws of the land must be upheld. However, if censorship can be definitively separated from regulation, then both processes will gain a measure of credibility where now both are compromised.

A new benchmark Informal conversations with employees from other branches of government indicate that MICA agencies may be behind the curve regarding internal communications and stakeholder relations. Certainly, censorship is a ‘hot’ topic. All the more reason, then, to grasp the bull by the horns and develop a regulatory framework that establishes new standards of transparency and accountability – best practices that other branches of government should aspire to reproduce.

A new start? When it comes to state support for the arts, Singapore’s artists are only too happy to give credit where it is due. However, many who have been subject to the censorship process harbour a degree of resentment at the high-handedness of state representatives, and frustration at the arbitrariness of the resulting decisions. The introduction of a properly disinterested regulatory framework, based on principles the majority of artists – along with other stakeholders – can agree on, will provide an excellent opportunity to clear the air, and build professional relationships afresh.

7 Recommendation

We sincerely believe that the CRC is in a unique position to make a meaningful and material difference to the social and creative landscape of Singapore. We appreciate the temptation to take an incremental approach that plucks only the ‘low hanging fruit’. However, in light of the foregoing observations, we are concerned about the CRC’s stated intention not to address ‘political’ censorship. In Singapore, as in many other societies, there is no other kind, and such a position, itself, raises political questions. Even as the CRC has continued to deliberate, a number of politically motivated decisions affecting the status of groups and individuals within the arts have demonstrated the necessity of acknowledging and addressing the inherently political nature of its task.

We therefore have only one recommendation to make: replace the current system by one where there is a clear separation of regulation and censorship.

This may seem obvious. And indeed, there is any number of more specific recommendations concerning procedures and content that have been discussed and could be made here (see, for instance, Appendix 2, ‘A Proposal for Mediation’). But for all the complex debates over the nitty-gritty of standards and classification, for as long as regulation remains compromised by censorship, little will be changed, and even less achieved in developing the creative life of the nation. Conversely, a principled argument for the separation of regulation and censorship by the CRC would have some or all of the following consequences:

A process that is consistent, clear and transparent, which is conducted at arms-length from party political interests, whose outcomes are open to public scrutiny, and that enjoys the engagement of diverse stakeholders.

A process that is ordinary, unexceptional and efficient, conducted by informed and impartial individuals whose decisions can inspire confidence across government, and who can explain and justify those decisions in public.

A process that focuses on the education and empowerment of citizens, and grants the widest possible scope for expression and access to creative works to the greatest possible number of interested individuals.

A process that promotes a new tone, vocabulary and terms of reference for public discourse, and that both encourages and contributes to free and open debate about the complex issues inevitably arising from it.

A process that avoids conflicts of interest by the agencies charged with executing it, and that is subject to periodic review by an independent body.

8 Conclusion

Can such a prospect be realised, as some may charge, only in an ‘ideal world’? Based on our practical experience, as well the principles we share, it is the only realistic solution to the increasingly outmoded and untenable system currently in place.

At present, the decision to censor is taken far too lightly in Singapore. This is because it has become routinised to such an extent that individuals are shielded from the ethical implications and practical consequences of their actions. Some blame for this must be laid at the door of successive CRCs, whose pro-forma insistence that ‘all societies censor’ has stood in for any meaningful discussion of what is really at stake in an act of censorship: the arbitrary exercise of power. As artists whose primary function is cultural expression, and whose first responsibility is to our audiences, we feel that the government can do more to separate out regulation from censorship, and to implement a regulatory system that is user-friendly, transparent and accountable.

9 APPENDIX 1: CENSORSHIP ACCOUNTS

The following are accounts of censorship and censorship-like incidents that have been encountered by various artists from 2005 to the present. The accounts documented here are far from exhaustive and are not comprehensively nor definitively chronicled here, and serve mainly to indicate the different forms of censorship that have occurred recently.

Censorship accounts tend to circulate as hearsay and rumours, at times in an attempt to protect the affected parties who may be dependent on institutions and organisations involved for future projects and funding, or simply to avoid the general wrath of censoring bodies. When censorship accounts do get surfaced to the public, they do tend to generate substantial interest, leading to the fallacious argument that censorship ‘benefited’ the situation providing publicity, failing to realise that works have been compromised and artists under threat to comply.

Two broad arguments are put forth through these accounts that have been kindly contributed by the affected parties - firstly the pervasiveness of censorship and censorious activity across different media, at different levels of intensity, and with different organisations and institutions. Secondly, that censorship activity has real implications for, and impacts, works, artists and audiences.

2005 that the original piece was banned and the Total ban of content - piece that the audience would be watching Human Lefts was derived within a short time of 3 days. In the end, the talk back session focused on Form: Theatre production censorship more than ever. The audiences Venue: Drama Centre Blackbox (especially the international crowd - as this Organisations involved/negotiated with: was part of an international festival) were Media Development Authority (MDA) very responsive to the situation.

Censorship of all references to the death penalty and seemingly close references (2005-2009) to high ranking politicians. The reason Rating & cut - given for the censorship was that the death ContraDiction penalty was a sensitive issue at that point in time (it was the day after the hanging of Form: Reading event Nguyen Van Thong). The entire content Venue: Utterly Art, Mox Bar, 72-13 of the script was banned, however, MDA Organisations involved/negotiated with: allowed another set of content to run with Media Development Authority (MDA) the same title. The first year that the reading was held, Outcome & Effect: the organisers were told that they needed A totally new script had to be put together to apply for an arts entertainment license within 3 days, and the show went on without despite the fact that most literary readings further cuts, but effectively the original in Singapore carry on without a license. The content was axed. In response to the ban, a license has been granted every year since sign was placed outside the theatre, stating then, but most years (certainly from 2007

10 onwards), the event has been labeled R(18), 2007 even when one of the performers was Cut and others forms of censorship - clearly stated to be 16 years old. On one 251 occasion, in 2007, a piece was also banned from live reading: Koh Jee Leong’s sonnet Form: Theatre production “Come On, Straight Boy.” The reason Venue: Esplanade Theatre Studio given for the poem being banned was that Organisations involved/negotiated with: it was “encouraging homosexuality.” From Media Development Authority (MDA), recollection, no reason was given for the Ministry of Information, Communications R-rating. and the Arts (MICA), Esplanade

Outcome & Effect: The play script was censored, references In Jee Leong’s case, he read a different to a lesbian romance had to be changed, piece. It is however somewhat inconvenient and subsequently re-written to depict the to have to submit the text and particulars of characters as young 12-year olds exploring everyone involved a few months before the sexuality (puppy love) instead, even though show. the lesbian affair was integral to Annabel Chong’s psyche. During rehearsals, Esplanade personnel were continually 2006 asking to sit in and were obliged. They Unrealised work - wanted to know how the kiss between two Talk to Him girls would be staged. They said ‘ok’ to the kiss but wanted to know how long the kiss Form: Video (visual arts) would last, in which case it would have Organisations involved/negotiated with: been staged for a shorter time than their National Arts Council expected duration so as to comply with this stipulation. No response was given however The realisation of a new work responding to to the allowed duration. In addition to the an invitation to participate in the Singapore several emails sent to the theatre company Biennale was hamstrung. The proposed requesting for information on how scenes work had intended to interview 5 individuals were to be staged, sms-es were also who have been active in the arts scene in received asking information about staging Singapore and who come from a wide range etc. Following that, when sms-es stopped of subject areas such as the arts, politics, Esplanade personnel would call or drop by land development, history, humanities rehearsals to give comments etc. and culture. The video recording would be presented as a 5-hour long screening One of the requests received was for the during the 2006 Singapore Biennale. After a play’s opening line to be deleted. The second meeting, the artist was told he would line was ‘in the beginning was the body,’ need a lawyer for the project, and that he because it was considered potentially would be held responsible if anything should offensive to Christians. However it was go wrong because of the project. He was highlighted to the Esplanade officials that also told that he would not receive further it was not a ‘live’ act but a pre-recorded support unless he had engaged a lawyer speech, as such it could not be done which was not possible as a lawyer would rightaway as it was opening night, and the have required half of the budget provjded. track would sound abrupt if it began with the second part on its own. This was in spite of Outcome & Effect: the fact that the script had been submitted The work was not realised and no work was long before. In the end the entire monologue presented at the Biennale. To date there was re-recorded to oblige their request. has not been any further word from the organisers. Outcome & Effect: Self-censorship under pressure is still

11 censorship. The efforts of the artists, and Performance prevented - integrity of the work was compromised, as TRICK or THREAT well as the audience’s experience as the artists had intended. The event generated Form: Forum theatre even more publicity than it would have given Venue: Outdoor Community Venues like Toa the last minute censorship. It resulted in a Payoh Central big feature in the media even though the Organisations involved/negotiated with: report was a much diluted version and did Media Development Authority (MDA), not give a full sense of what had happened although the objection to the performance came from the Ministry of Home Affairs (MHA) Cut - Tall Tales and Short Stories Trick or Threat is a Forum Theatre Production about a possible bombing Form: Reading of two short stories at occurring in an MRT and its effects such as IndigNation (5 August 2007) causing fear, and the proliferation of racial Venue: 72-13 and religious stereotypes and discrimination. Organisations involved/negotiated with: It was intended to be performed in the Media Development Authority (MDA) outdoors within a community setting as the organisers felt it was a topic that should The short story Lee Low Tar was censored, reach out to the greater community who and the reason given was that “the content would have much to learn about how to of Lee Low Tar had gone beyond good taste deal with such a crisis. MHA felt that the and decency in taking a disparaging and forum theatre form being performed in disrespectful view of public officers.” The the outdoors with such a theme would be piece was banned from the live reading inappropriate and hence told MDA that the event. production will not be allowed unless it was presented indoors. Outcome & Effect: While the reading of two short stories had The ban was communicated to the been planned for, only one could be read - organisers 1 day before the show opened. the piece by Ovidia Yu. In the place of the The organisers met up with MDA who simply unread story, a talk on the ban was held, the conveyed their decision and expressed their short story was also distributed for reading, regret and asked if they could help to secure and a silent performance art event was held indoor venues, however the cost was to be instead. The short story was also posted borne by the company on the net. In fact, the short story itself was written as a response to MDA’s intervention. Outcome & Effect: The organisers had been told about a month The production was not performed as beforehand that MDA wanted them to apply scheduled as there was no license. for a licence for the short story reading, However the organisers then suggested which was inexplicable, since most short conducting the performance at an outdoor story readings go on without a need for a venue but within a covered tentage, which licence. At that point, the story was only a was was given approval and performed 1 bare idea, which was then adapted it to fit month later. The piece has since been seen the occasion. by various people from grassroots leaders to public and international audience. Many audiences responded that they felt it to be an important work for the community to watch and to start learning about how to deal with such crises. The prevention of an outdoor community performance however did limit the performance’s ability to reach its

12 targeted audience. It was felt that the censors had misjudged the film and taken too much of a cautionary view of it which was highly disappointing. 2008 Raiding of private screening - One Nation Under Lee 2009 Withdrawal of films from screening even Form: Film though both films have been granted Venue: Excelsior Hotel R21 status by the Board of Film Censors Organisations involved/negotiated with: (BFC) - Media Development Authority (MDA) and Tanjong Rhu (2008) and Threshold Singapore Police Force. (2009)

Private screening raided by MDA and Form: Film screening Singapore Police. Screening ordered Venue: National Museum Cinematheque to cease. DVD confiscated. Attempted and the Singapore Film Commission confiscation of video projector. Filmmaker Organisations involved/negotiated with: investigated by Police in 2009. National Museum of Singapore, Singapore Film Commission Outcome & Effect: Audience viewing was disrupted and some Film-makers were informed by the film left the room in fear. The film was never programmer that the films were selected screened in Singapore again. Straits Times to be included in the 6th Singapore Short ran a half-page report a day after on how Cuts, to be held on 15th August 2009 at the the screening was raided and that anyone National Museum Cinematheque, along with found with copies of the film would be fined 3 other local short films. A week before the $200 per copy. screening they were suddenly informed that the films had to be withdrawn, without any official reason. Both films had been rated Rating - R21, and were permitted to be shown legally Sita Sings the Blues as long as the screening audience was above 21 years of age. Emails were sent Form: Film to the Singapore Film Commission seeking Venue: Alliance Francaise, part of more information, but no reply was received. Animation Nation 2008 The event on August 15th went on with 3 Organisations involved/negotiated with: films being screened officially. Information Singapore Film Society on Tanjong Rhu and Threshold were absent from the program lineup. Sita Sings the Blues is an internationally acclaimed animation film. When the Outcome & Effect: film was submitted to the censors it To date, no reply has been received from unexpectedly received a R21 rating with a SFC. The censorship incident prevented one-screening-only permit, on grounds that ‘Threshold’ from having its Official World it was religiously contentious. However, the Premiere in Singapore. The filmmaker film had been screened numerous times in had postponed his flight to further studies India with no problem. At present, the film overseas in order to be present for the is available for download from the web via screening, in vain. Lack of transparency a Creative Commons license. and explanation was disheartening. The fact that even with a rating, the films were still Outcome & Effect: prevented from showing displayed a lack of Being allowed to screen the film only faith of the filmmaking community. once made it impossible to break even (financially), especially at such late notice.

13 Changing rating - PG with cut, R21 with would be made within the week to inform cut, finally R21 no cuts - audiences that titles rated with cuts cannot Wendy & Lucy (2008) be screened, and that ticket sales for these screenings would be cancelled. Hearing Form: Film this BFC asked SIFF to tell the press to Venue: National Museum of Singapore run their stories by BFC. SIFF explained to Gallery Theatre, April 2009 BFC that SIFF never did and does not have Organisations: Board of Film Censors (BFC) the power to make the press do such a thing. Upon this, BFC then said they might The main story of this award-winning film reconsider this matter again, and closed directed by Kelly Reichardt, Wendy & Lucy, the hour-long meeting. On April 6th, BFC is about a girl and her dog who journey to passed the film, changing its classification Alaska to find work and a better life. The film to a final rating of R21 without cuts. was submitted to BFC prior to its intended screening at the Singapore International Film Festival (SIFF) 2009. In one scene two words are said in response to a security guard who insists that the dog pound is closed. The character, Wendy, answers in frustration, “fucking christ,” in a wide-shot with the character’s back to the camera so the words are only heard.

BFC first rated the film PG with a cut of the two words. SIFF requested for a re- consideration to “PG with no cuts,” this was denied. SIFF then asked for an R21 rating with no cuts. BFC responded, saying, a rating of R21 could be given, but still with the cut, and denied any appeal. During a meeting with BFC the reason given for the cut was that the phrase denigrates the representative’s religion, and the representative would not accept that in the context of this film the words were just swear words, a figure of speech spoken in frustration in this particular scene. BFC representative claimed that the SIFF representative could not be a judge of the matter as the SIFF representative was not of the same religion.

Outcome and effect: BFC is aware that SIFF maintains a policy as with all other credible international film festivals to screen films intact. If the film’s integrity cannot be protected, SIFF informs the audiences of the BFC’s rating decisions, and then withdraws the film so that the filmmaker’s vision and the audience’s experience is not compromised. SIFF informed BFC that a SIFF press release

14 APPENDIX 2 : A PROPOSAL FOR MEDIATION

Following the call for openness and dialogue, arts engage wishes to propose as a model, the principle and use of mediation.

Mediation addresses the difficult position government agencies find themselves in when individuals within the society disagree on social, cultural and/or religious issues in art. The advantages of mediation for agencies are: 1) the agency is freed from the balancing act of trying to pass impartial judgement; 2) the agency is not reactive, but facilitatory, 3) the agency can effectively focus on policy and administration, rather than arbitration.

Using the mediation model also creates the possibility for content creators to not have to submit works prior to their production. With such a model the agency will not need to ‘vet’ and second guess what may be problematic issues even before they occur, as there is a practical process for addressing concerns upon and after production or presentation.

What is mediation? It is a process of facilitation of discussion between persons or groups in order to bring about agreement or reconciliation.

How does this work? In the process of mediation, when a member of the public or a group finds an aspect of a work problematic, objectionable, or has a different opinion than the creators of the work, the agency acts sensitively to allow both parties to discuss the issue in a fair and open manner. For example a play is performed and a member of the audience (noted here an audience member does not immediately translate to a majority ‘public’ opinion) finds an element of the work objectionable. The audience member may feel compelled to contact the agency to express their concern. The contacted agency does not immediately panic and respond blindly by, for example closing the show. Instead, the agency refers the audience member to the artists responsible for the work and requests that they have an open and fair discussion of the issue with the audience member, with the view to arrive at two possible outcomes for the issue they differ on: either the issue is resolved in the sense both have gained something from the experience and can see or understand each other’s perspectives even if they do not finally agree with each other’s position; or if it is not resolved between the two, both parties agree to commit to a broader community discussion, again with the intent of understanding each other and resolving their differences in a mature and mutually respectful manner.

Mediation requires an engaged interaction between the parties, and it is here that exchange within the community can happen, not name-calling, baiting or aggression. Such a process demands that both artists and audiences are open and honest about the issue on hand, and importantly acknowledges that both have a stake in cultural production and consumption.

15 The arts community position paper on censorship and regulation is developed by Arts Engage, a network of arts practitioners from various disciplines.

The paper was posted online from 14 June to 30 July 2010, and during this time 1,786 signatures were gathered in support of the paper.

Yahoo group: http://groups.yahoo.com/group/artsengage/ Web: http://sites.google.com/site/artsengagesg Contact: [email protected]

16 In support of the arts community paper on censorship and regulation

A Heah Alfian Bin Sa’at A Yagnya Alfieana Alphonso Aaren H.S Alice Neo Aaron d’Almeida Alicia Feng Aaron Kok Alina Ng Abdul Halim Bin Ahmad Hasan Alison Schooling Abel Teo Allan Fernandez Acelyn Chua Alvin Ada Yeo Alvin Chan Adee Sardali Alvin Chia Adele Alvin Ho Adele Tan Alvin Tan Adeleena Araib Alyssa Lee Adeline Chong Alyssa Rae Tan Adeline Kueh Amanda Adeline Kwan Amanda Heng Adib Jalal Amanda Lee Adila Mohckeram Amanda Leong Adrian Boey Amanda lim Adrian Murdoch Amanda Yap Adrian Ngin Amin Farid Agathe de Bailliencourt Amirah Ahmad Bin Ismail Amirah Arip Ahmad Ezzat Alkaff Ana Prvacki Ahmad Hidayat Anders Gustavsson Ahmad Musta’ain Khamis Andrea Ahmad Redha Andrea Loh Ahmad Salehin bin Mohd Saleh Andrew Cheah Ai Loon Andrew Gall Ai man Andrew Ng Aidah Rauf Andrew Tay Aiida Tubiman Andrew Wang Aini Azidah Andy Ang Alan Andy Lim Alan Ching Aneesh. K Alan Nicholl Ang Hwee Sim Alan Seah Chang Wei Ang Jun Xian Alan Teng Ang Linly Alan Teo Angela Alan Wong Angela Liong Albert Chan Angelique Teo Alex Au Waipang Angie Lim Alex Fenby Anis Ishnin Alex Lou Anjeli Narandran Alex Neo Anmari Van Nieuwenhove Alex Su Ann Hussein Alex Toh Anna Alex Zeeh Annabelle Yip Alfee Anne Chiang

Note: Appearance of duplicates in the list are individuals with similar names 17 Anne Goh Benson Ang Anne Weerapass Bernard C G Law Anthea Pie Bernard Ho Anthony Chen Bernard Teo Anthony D’Agostino Bernard Yan Anthony Tan Bernice antje schroeder Berny Tan Antony Bianca Anurak Saelaow Hao Bianca Lai Y L Aran Bihui Li Arathi Menon Bill Ang Arisya bill clintosh Arni Anwar Bob Feldman Arnold Rodrigues Boey Arron Teo Boo Junfeng Arthur Ong Boo Xinying Arul Inthirarajah Boon Wee Ash Lim Bowman William Asha Edmund Braema Mathiaparanam Ashe Narayan Brendan Goh Ashley Brendon Fernandez Ashley Chan Brenton Wong Asril Ibrahim Brian Gothong Tan Au Yong Haw San Deborah Brian William Forst Audi Khalid Bruce Quek Audrey Chen Bryan Angelo Lim Audrey Ho Bryan Choong Audrey Koh Bryan Tan Audrey Lim C J Wee Wan-ling (Dr) Audrey Lim Cai Yutian Audrey Wong Caleb Goh Azimah Othman Callan Tham Azimin Saini Cara Whitehouse Azlina Carlos Keng Balakrishnan Matchap Carol Ann Tan Bay Ming Ching Carol Chan Beatrice Victoria Carol Sak Beeli Sim Caroline Fernandez Belinda Tan Caroline Kan Ben Hampe Carrie Ben Siow Carynl Tan Ben Slater Casey Lim Benedict Chen Casper Koh Benedict Goh Cassandra Wong Benedict Jacob Thambiah Cassandra Goh Beng Nah Myers Catherine Lim Benjamin Cheah Catherine Sng Benjamin Cheah Cathy Johnson Benjamin Chew Cavin Song Benjamin Kee Celestine Suah Benjamin Low Chai Yee Wei Benjamin Ziggy Lee Chan Cheow Thia Benny Chan Jun Kai

18 Chan Kwun Tsun Chia Hui Yong Chan Poh Ling Chia Jiaxing Chan Sze-Wei Chia Jiayan Chan Tse Chueen Chia Yeow Tong Chan Yi Ming Chiam Zhi Bin Chand Ching S. Chandhini Chandra Mohan Ching Whee Main Chap Heng Chivon Ho Charanjeet Sameer Singh Wadhwa Chloe Charlene Chloe Leow Wan Xiu Charlene Haridas Chng Suan Tze Charlene Fu Chok Shin Ni Charlene Goh Chong Boon Yee Angela Charlene Rajendran Chong chee Chong Charles Chong Eileen Charles Tan Chong Eng Keat Charlotte Ong Chong Gim Hwee Charmaine Oon Chong Lez Ann Charmaine Tan Chong Li-Chuan Charmaine Toh Chong Yoon Yee Chay Tan Choo Lip Sin Cheam Li Chang Chor Pharn Lee Chee Chuan Yang Chow Bee Lin Chee En Qi Chow Pei Sze Chee Hui Ming Chris Basil Chee Huijie Angeline Chris Chua Chee Mei Jiun Chris Jensen Chelsea Chua Chris Yap Chen Gengshi Ruth Chrissie Tan Chen Jinwen Christina Loong Chen Khin Wee Christina Sergeant Chen Wei Teng Christine Suryasin Chen Yinxiu Christopher Soon Chen Yoong Tian Christopher Tan Chen Ziwei Chrystabel Gonh Cheng Chee Hoew Chu Yia, Chia Cheng Mun Chua Beng Huat Cheng Pei Yun Chua Boon Haow Cheng U Wen Lena Chua Chee Hiang Cheng Xiaoan Chua Enlai Cheng Yi En Chua Hak Lien Cheng Ying Han Chua Jingdu Cheo Chai Hiang Chua Kim Beng Cheong Mee Din Chua Yong Sheng Ryan Cheryl McCaffery Chua Zhi Hon Cheryl Ng Chua Zhi Wei Cheryl Shen Chuang Xiu’Er Cheryl Suah Chui Yong Jian, Cain Cheryl Tan Chun Kai Qun Chew Kheng Chuan Chun Kaifeng Chew Tze Chuan Chye Shu Wen Chew Tze Chuan Claire Devine Chi Xin Ci Heather Claire Soon

19 Claire Wong David Baptista Clara Feng David Chein Claudine Lim David D’aranjo Cliff Tan David Ee Colin Chew David Lee Colin Foo David Shiyang Liu Collin David Tan Cordelia Fernandez David Wilkins Coreen Lee David Yin Corinna Cecilia Lim Dawn Khoo Corrina Tan-Koo Dazzlyn Crispian Chan Dean Lundquist Cristalle Sze-to Debbie Ding Crystal Yao Deborah Hoon Cyril Ng Deborah Lee Cyril Wong Deborah Oh Daisy Chua Deborah Png Dalglish Chew Deborah Shaw Damien Deborah Yuen Damien Woon Delorme Damon Chua Denise Khng Dan Denise Li Dan Koh Denise Ng Dana Lam Denise Tan Daniel Boey Dennis Kho Daniel Chak Dennis Tan Daniel G Denvy Lo Daniel K (aka diskodanny) Derek Chan Hsien Wei Daniel P.S. Goh Derek Teo Daniel Sassoon Derek Yeo Daniel Yeow Derrick Danny Yeo Derrick Ha Daphne Ng Derrick Loo Daphne Ong Desiree Choo Daphne Tan Desmond Charles Darien Teng Desmond Lim Darius Beh Desmond Lui Darius Tan Desmond Sim Kim Jin Darren Guo Desmond Soh Darren Koh Dhaniah Suhana Darren Ng Dharfianto Darren Sim Dharmendra Darren Smith Diana Lee Darren Yap Diana Soh Darryl Leong Diane Ho Darryl Ong Dianna Lane Darshila Dice Kaaos Daryl Dickson Su Daryl Ho Dinesh Naidu Daryl Lim Dione Wang Dave Ding Divya Balakrishnan Dave Soh Divya Manian Daven Dominic Chua

20 Dominic Leong Eugene Koh Dominic Teo Eugene Seet Dominic Teo Eugene Tan Donald Low Eugene Wong Donaldson Tan Eugenia Chuah Donna-Mae Therese Eugenia Teo Donny Tan Eunice Doreen Toh Eunice Wong Doris Cen Eva Tang Eby Sim Evan Lim Edgar Liao Evan Tan Edlyn Ng Eve Tan Edmond Lee Eveline How Edmund Chow Evelyn Lee Edric Hsu Evelyn Maria Ng Edward Choy Evelyn Ng Edwin Evelyn Teo Edwin Ko Ezzam Rahman Edwin Loh Fabian Terh Edwina_Sg Faez Ee Lyn Tang Faeza Sirajudin Eileena Lee Faith Ng Eindra Kyi Faizal Abdullah Elaine Foo Fajrina Razak Elaine Tay Faliqh Elangovan Fanny Kee Eleanor Tan Farah Sabrina Jamal Elena Ho Farhan Azrafael Razak Elgin Ho Farhan M Eliza Farhan Wahab Elizabeth Lee Maxted Farhana Mustapha Elizabeth Lim Farizwan Fajari Elizabeth Tan Felicia Elvin Ching Felicia Low Emeric Lau Felix Heng Emily Feon Tong Emily Lim Fidel Anaya Emmeline Yong Fin Harahap Eng Yee Peng Fion Tang Eric Choo Fiona Anne Jeremiah Eric Heng Firdaus Arman Eric Koh Hong Wei Firdaus Hashim Erica Denison Fitria Erica Lai Flo Erich Hou Flora Ng Ernest Florence Tan Ernest Tjia Fong Hoe Fang Esha Fong Wen Wei Esther Huang Foo Chuan How Eswandy Sarip Foo Jong Soon Ethan Yeo Foo Jun Sheng Ethel Chong Foo Ling Yann Ethel Yap Foo Say Yei

21 Foo Yoong Yih Gold Poovan Devasagayam Foong Woei Wan Gowri Janakiramanan Fouridine Ang Gozde Zehnder Francis Yap Grace Xiao Fuzz Lee Grace Gabin Wu Grace Khoo Gail Wang Grace Lee Galvin Soh Grace Ng Galvin Widjaja Grace Teng Ganesh GS Gani Abdul Karim Guy Huau Garrick Gwee Wei Wei Gary Lim Gwen Goh Gary lum Hafiz Gayle Hafiz Gek Li San Hailly Shah Gene D’Castro Han Yew Kwang Gene Sha Rudyn Hang Qian Chou Genevieve Chua Hani Geoffrey Khoo Hannah Geoffrey Low Hannah Tan Geoffrey Pereira Hannes Hentze Geogette Soh Haresh Sharma George Harold George Bishop Harrold Chua Hao-Ru George Hwang Harun Nur Rashid B.M.I. Gerald Aw Harvey Neo Gerald Chew Haslinda Gerald Heng Hatta Moktar Geraldine Ang Hazel Geri Goh Hazel Lim Germaine Leow Hazlina Peer Gilbert Cheah He Shuming Gill Darbyshire He Yin Gillian Hector Tan Gillian Tay Heman Chong Gillian Toh Hendro Setyo Wibowo Glen Goei Heng Chin Chuan Glenn Chan Henning Focks Gloria Liang Henry Gloria Low Henry Chua Gloria Ng Henry Kencana Godwin Koay Hera Goh Chor Hoon Hidayat Goh Chui Ting Hilmi Goh Guo Quan Hiro Toshi Goh Hong Hisham Hassan Goh Hwee Suan Hizam Haron Goh Lay Kuan Ho Chi Sam Goh Li Sian Ho Choon Hiong Goh Seok Ai Ho Hui May Goh Su Lin Ho Kang Sang Goh Wee Gin Ho Lek Yee

22 Ho Rui An Jacque Wang Ho Tzu Nyen Jacqueline Chia Hoo Kuan Cien Jacyntha England Howard Banwell Jae Leung Hu Ching Jagjit Singh Huang Ban Chin Jailani bun Kuning Huang Xiangbin Jalyn Han Huang Xiangwen Gisella James Jan Hui Fong Chee James Koh Sze Ming Huzaifah Haris James Kwek Huzir Sulaiman James Leong Hwee Peng James Ong Hwee Qin James Wong Ian Low Jameson Soh Ian Wee Jamie Ang Icad Boki Jamie Zhuo Ifraim Sofian Faylasuf Jan Tay Hwee Teng Ignatius Low Janghyewon Ikram Zainy Jani Patokallio Ili Mustafa Janice Koh Ina Zhang Janice Nua Inez Janice Young Inez Ho Jared J Ingrid Mak Jarrod Luo Ipshita Thakur Jasmine Irene Oh Jasmine Ng Isaac Lee Jasmine Ng Isaac Okumura Tan Jasmine Tan Sing Yee Isaac Wu Jasmine Teo Ismail Jason Huang Isnor Dzulkarnain Jaafar Jason Lee Jia Sheng Isrizal Mohamed Isa Jason Leong Isyaffi Jason Leong Ivan Doti Jason Ong Ivan Heng Jason Wee Ivan Ng Jason Wee Ivan Sean Hor Jasper Fay Ivan Tan Jasper Lim Izad Omar Jasper Pee Izyanti Asa’ari Javinson Huang Jacen Tan Jay Khialani Jack Low Jaynt Mohinani Jack morgan Jazeman Jack Sim Jean Chong Jack Yong Jean Hair Jacke Chye Jean Ng Jacki Nicholas Jean Ng Jackie Pang Jean Yeo Jacklyn Soo Meian Jeanette Yeo Jackson Tan Jeanine Lim Jacky Winson Sim Jee Leong Koh Jaclyn Lee Jef Tan Jaclyn Mok Jeff Bay

23 Jeff Chouw Joey Ng Jeffrey Lee John Jeffrey Lim John Bittleston Jefri John Gregory Jem Chua John Lee Jen John Lim Jennifer Anne Champion John Sioq Jennifer Lim Johnathon Kwok Jennifer McManus Johnson Ong Jennifer Ng Johnson Ong Jennifer Teo Johnson Ong Jenny Chan Jolene Tan Jeremy Chian Jolovan Wham Jeremy Chu Chan Peng Jolovan Wham Jeremy How Jon Cancio Jeremy Jeyam Samuel Jonas Tan Jeremy Lee Jonathan Foo Jeremy San T N Jonathan Lim Jeremy Sing Jonathan Tamil Jeremy Tan Josef Ng Jerome Chan Josephine Tan Jerome chee Josh Gez Jerrie Sim Joshua Chang Jerrold Thong Joshua Chiang Jervena Joshua Tan Jesse koh Joshua Tay Jessica Joshua Wong Jessica Chan Jovan Peh Jessie Seng Suying Joyce Fang Jessleen Loy Joyce Yeo Jesslyn Winata Joycelyn Lee Jezamine Tan Joycelyn Ng Jiahao Chen Joyotee Ray Chaudhury Jiakai Jeremy Chua Judith Huang Jo Tan Judy Ngo Joan Judy Tan Joan Julia Lau Joan Low Juliana Lau Joanna Juliana Mohd Yasin Joanna Dong Juliana Ong Joanne Julie Heather Liew Joanne Cheong Julius Tan YanKai Joanne Fong Jun Zubillaga-Pow Joanne Lim June Joanne-Marie June Lee Jocelyn Chng June Yap Joe Chung Junie Joe Hancl Justin Chua Boon Hun Joe Ng Justin Zhuang Joel Kang JY Yang Joey K K Seet (Dr) Joey Kang Kah Kit Joey Koo Kai Cheong

24 Kalaiselvi Grace Kirsten Kaliswaran S/O Ramu Kirsten Tan Kamal Dollah Koey Foo Kamil Haque Koh Hui Ling Kan Lume Koh Hui Wen Kandhiban Koh Jiann Bin Kang Jia Xi Koh Jiaxin Karen Boo Koh Nguang How Karen Lim Koh Wei Jie Karen Mohan Koh Weiming Karen Ong Kok Heng Leun Karen Tan Kris Lee Karen Tham Kris Lee Karthikeyan Kristy Song Kathleen Ditzig Kuo Jian Hong Katy Harris Kwok Boon Yong Kavita Devi Thamilselvam Kyoichi Kavita Ratty Lai Chiu Yun Kay Aw Lai Han Seng Kaylene Tan Lai Mee Yoong Kee Boon Chuan Lam Dan Fong Keith Tan Kean Loong Lam Guang Feng Keith Yap Lam Hoi Lit, Kai Kel Lam tak Ming Keline Tung Laremy Lee Kelly Fan Larry Pham Kelly Then Lau Chee Nien Kelly Vickers Lau Shu Hui Kelvin Atmadibrata Laura Cherchi Kelvin Ng Layla El-Deeb Kelvin Tan Lee Kelvin Toh Lee Chau Min Kelvin Tong Lee Chee Wai Kenneth Chee Lee Cheok Yew Kenneth Chung Lee Chong Meng Kenneth Kong Lee Gwo Yinn Kenneth Kwok Lee Han-Chung, Randy Kenneth Paul Tan Lee Hong Hwee Kenneth Tan Lee Kok Wei Kenny Ching Lee Mun Wai Kenny Phua Lee Pheng Guan Kevin Chew Lee Shyh Jih Kevin Chua Lee Sze Chuin Kevin Yeo Lee Thean-jeen Kew Lee Tuck-Leong Khai Hori Lee Wai Meng Khairi Nasrul Anwar Lee Wai Ying Khairul Nizam Lee Wen Khoo Choon Yen Lee Yu Sin Khoo Jiacheng Lee Yu-Jin Khor Yeng Hock Lei Kei Yeung Kimberly Ho Leif Magne Tangen Kimberly James Lena

25 Leng Shan Lin Qinzhi Lenice L Lin Shiyun Leon Cheo Lin Weidong Leon Tan Lina Adam Leonard Lai Yok Wai Linda Ong Leong Jian Hao Ling Leong Siew Hoong Ling Poh Foong Leow Kah Siang Linus Chew Leow Sze Khim Lio Shilei Leow Yangfa Liping Chan Leow Zi Xiang Lisa Cheong Lesley Lisa Li Leslie Chua Lissa Leslie Lee Little Ong Leslie Low Liu Ruixiang Letitia Tan Loh Choong Chiat Leyla Richardson Loh Kwek Leong Li Jun Loh Shu Han Li Lin Wee Loh Weiye Li Xie (Lim Poh Poh) Lok LiangXun Li-Ming Leong Loke Jie Liang Yi Bin Loki Tung Liao Jiekai Lokies Khan Liew Shih How Lokman Lilian Kong Loo Zihan Lim Ai Phing Loretta Chen (Dr) Lim Chi-Sharn Loretta Marie Perera Lim Han Thon Lorraine Yang Lim Jialiang Louie Tan Lim Jiunn Haur Low Beng Kheng Lim Jue Hao, Isaac Low Chu Yuan Benjamin Lim Qinyi Low Chun Meng Lim Si Ting Low Koon Yen Lim Siew Ping Low Lee Koong Lim Siew Wee Low Li Lin Lim Siew Yuen aka Gobbs Low Soon Peng Lim Sim Lin Low Yan Qing Lim Sio Hui Low Youjin Lim Swee Kim Luar Hui Hian Lim Tin Yuen Lucas Ho Lim Ting Li Lucilla Teoh Lim Wah Guan Lucy Davis Lim Wan Xin Lulin Reutens Lim Wee Ching Lulu Ong Lim Weijiang Lyn-Anne Loy Lim Xiu Li Lynette Ng Lim Yam Chai Lynette Zheng Lim Yew Yee Lynn Lee Lim Yong Siang Lynn Loo Lim Yong Teck Lynn Lu Lim Yu Shaun Mabelyn Ow Lim Zhong Hao Madeleine Park Limin Madhav

26 Magdalen Chua Melissa Wong Maggie Lim Melody Maggie Tan Melvin Lim Mak Yu Ting Melvin Tan Malcolm Chen Melvin Wong Malini Sitaram Melvyn Goh Malvina Tan Melvyn Loey Manbeer Singh Meng Ong Mandy Chng Meng Sen Quek Mandy Tan Merrylyn Marc Almagro Mervyn Quek Marc Gourde Mia Chee Mardhiah Osman Michael Cheng Margaret Thomas Michael Hafferty Mariam Arshad Abdullah Michael Kwek Marianne Wee Michael Lee Marie Holm Andersen Michael Smith Marie James Michael Tan Marie Ng Michael Tan Marienne Yang Xiao-Juan Michael Tan Marilyn Ang Michele Klyne Marilyn Loo Michelle Mario Sismondo Michelle Ang Marisa Sim Michelle Lim Mark Cai Michelle Tan Mark Dolmont Michelle Teo Mark Foo Michelle Wan Mark Nicodemus Tan Michelle Yeo Mark Tsi Micky Ngau Mark Wong Mike Mark Wong De Yi Mike HJ Chang Marla Bendini Mike Phang Martyn See Mike Wind Mathia Lee Mike Yoong Mathujitha Sankaran Mikey Loh Matsushita Yumi Min Li Goh Matthew Mindy Neo Matthew Mok Mindy Tan Mattina Zheng Ming Chong Maverick Quek Ming E. Wong May Lim Ming Poon Mayo Martin Ming Wong Md. Faizal Mingjuan Tan Meera Nair Mingwei Tan Megan Soh Mish’aal Megat Ibrahim Mahfuz MK Khoo Mei Sheong Wong Mohamad Lutfi Aman Bin Abu Khalid Meiyan Goh Mohamad Zaki Mel Araneta Mohamed Imran bin Ja’afar Melissa Mohamed Lokman Melissa Leong Mohammed Ishak bin Abu Melissa Lim Mohammed Muneer Khan Melissa Tsang Mohan Gopalan

27 Mohd Hisham Nicholas Anthony Lim Molizah Bte Mohd Mohter Nicholas Leow Monica Eng Nicholas Lim Morgane Stroobant Nicholas Liu Moss Garreth Mark Nicholas Loh Muhammad Farhan Nicholas Lum Muhammad Ghazali Bin Muzakir Nicholas Tay Muhammad Ridzal Abdul Hamid Nick Choi Muhammad Qayyum Nick Lim Muhd Isyaffi Nicole Chen Murni Mastan Nicole Lim Mykel Yee Nicolette Ong Mylim Nik Tao Nabil Mattar Nina Chabra Nadia Dawood Nishan Najihah Rahim Nithia Devan Nana Nitty Gritty Nandakumaran Noc Vvyne Lim Narda Nur Enggieka Noel Ng Nasri shah Noelle Loh Nasyitah Thara Tan Noor Effendy Ibrahim Natalia Tan Noora Zulkifli Natalie Chong Noorhana Natalie Koh Noorlinah Mohamed Natalie Soh Nora Lim Natalie Tjen Nora Samosir Nathan Noraishah Bte Abu Bakar Nathanael Norman Ng Nazeem Nur Atiqah Nazreen Osman Nur Khairiyah Bte Ramli Nazry Bahrawi Nur Sadrina Bte A. Latiff Nelson Chia Nur Syazlina Nelson Pinontoan Nur Zafirah Zainal Abidin Nelson Yeo Nurfidawati Neo Kim Seng Nurhafezhah Maznan Netina Nurhaizatul Jamil Ng Bing Xiang Jonathan Nurul Atiqah Ng Chin Seng Nurulain Bte Isa Ng Ching Huei Nurulhuda Bte Hassan Ng Guohui Olivia H. F. Loh Ing Ng How Wee Ong Boon Ching Ng Hui Hsien Ong Boon Wee Ng Ji Fu Aaron Ong Chao Hong Ng Sanson Ong Chun Yeow Ng Seow Hwee Ong Keng Sen Ng Tze Weng Ong Kian Wee Ng Wai Mun Ong Kian Wee Ng Yi-Sheng Ong Lit Song Darren Ng Yik Loong Ong Pei Chey Ng Yong Heng Simon Ong Puay Khim Ngiam Shin-shin Ong Shu Wen Ngiam Su-Lin Ong Sin Yee Nhazean M Ong Siow Wei

28 Ong Xiao Yun Quck Zhong Yi Ong Yi Xuan Quek Chay Ping Ooi Can Seng Quek Gui Fang Ooi Wooi Keat Quek Hui Ying Orion Assante QueK khor kai Otto Fong Quek Ser Ming Ovidia Yu Rabiah P-J Koe Rabiah Begam Padma Krishnan Rabil Lian Weiquan Paerin Choa Rachel Pamela liu Rachel Jedrek Pamela Oei Rachel Lim Pamelyn Chee Rachel Lim Sze Ying Patricia Tay Rachel Tan Patrick Ong Rachel Zeng Patrick Tong Raizi Patrina Chan Rajesh Jayan Paul Ananth Tambyah Raka Maitra Paul Chan Raksha Mahtani Paul Cheng Ramarau Perumal Paul Khoo Rani Virdee Paul Ng Rashidah Pauline Then Ravi Pavan J Singh Ravi Philemon Peggy Ferroa Raymond Chan Peh Beng Heng Raymond Tan Pei Yee Wong Rayne Lim Pek Shi Bao Rebecca Chip Pek YiPeng Redha Penelope Fernandes Regina De Rozario Perry Tan Regina Karmacharya Peter Boudewyn Rei Poh Peter Douglas Renee Peter Eigenmann Renee Chua Peter Michael Lee Reuben Lai Peter Schoppert Reza Hasni Petrice Chan Reza Johannes Petrus Tan Ribette Phin Wong Richard Chua Lian Choon Phoebe Pua Richard Ho Ping Teo Richard K F Ho Pok Yue Weng Richard Kang Prakash Nair Ridzuan Sarbini Prashant Somosundram Ridzuwan Muhammad Preman Rajalingam Rion Huang Priscilla E. Ng Robert Yeo Pritam Singh Robin Goh Priyalatha Arun Robin Loon Prvacki Milenko Roger Poon Puyee Wong Roger Winder Pwee Keng Hock Rohaizad Suaidi Qadir Minhat Roland Koh Quah Sy Ren Ron Tan

29 Ronald Wong Sean Quek Ronnie Lee Sean Tobin Rosaline Oh Sean Yeo Rosemary McGowan See Xin Yi Rosemary Richard Sam Seelan Palay Rosie Smith Seeta Roy Selena Roy Chong Selena Lai Roy Tan selena soo Royce Selene Cheng Royston Tan Senthilkumaran Sabapathy Rozelle Carmen Seong Kwok Kei Rudolph Van der Ven Seow Siok Mui Ruseediah Serena Lim Russell Heng Hiang Khng Serene Chong Ruzaimah Abuamin Serene Oh Ryan Goh Serene Ong Ryan Lim Serene Savia Ryanne Leong Serene See S Sardo Serene Tan S Thenmoli Sha Najak Sabera Shaik Shaan B Sabina-Leah Fernandez Shafiq Majid Sabine Kreuzer Shah Rizal Bin Baharudin Sabrina Chong Shah Salimat Sabrina Tan Sham Sabrina Xu Shan Yi Sadie-Jane Nunis Shana Yap Saifuddeen Amad Ali Shanna Soh Tjahja Sakina Ali Sharanjit Leyl Salima Nadira Sharen Sally Shark Fung Sam Chee Wah Sharlen Liew Sam Durant Sharon Sam Yeo Sharon Frese Sam Yip Sharon Lim Samuel Wong Sharon Tan Samuel Woo Sharon Tan Sandeep Singh Sharon Tan Sandra Cornelius Sharon Yim Sara Ang Shaun Oon Sarah Aini Binte Mohamda Ruslan Shaun Teo Sarah Cheng Shawn Sarah Suah Shawn Chua Sargunan Shawn Lee Sari Idayu Shawn Lum Sasha Koh Shawn W. Tan Sashimi Shawn Wong Saxone Woon Shawna Tang Seah Chang Un Shazwany Aziz Seah Sze Yunn Sheila Baptista Seah Ting Ting Shelley Thio Sean Lai Jiarong Shengen

30 Shereen Tan Steve Leadbetter Sheri Ramli Steve Thio Sin Loo Sherilyn Teo Steven Wong Sherlyne Yong Stuart Lee Sherman Ong Subra V S Sherry Soon Subramaniam Thirumeni Sherwin Sudesh Pathmarajah Shi Ying Tay Sue-Anne Shigeki Nobayashi Sufyan Sam’an Shireen Abdullah Sugiman Rahmat Shirin Chawla Suhaili Shirin Nadira Suhaimi Sujangi Shirley Soh Sumaiyah Shirley Wong Sun Koh Shuxian Lee Sun Koh Shyam Anand Singh Susy Atkinson Sia Ling Ee Suzzana Chew Siew Ching Ang Swee Siew Karmen Syafiq Jaafar Siew Kum Hong Syed Iskandar bin Hamzah Siew Meng Ee Syed Muhd Hafiz Siew Tuck Wah Sylvester Lim Sim Ming Howe Sylvia Seow Simon Nasser T K Sabapathy Simon Quek T Sasitharan Simone Lourey Tai Shuxia Sin Ann Tai Yew Mun Siow Ying Tan Bee Thiam Siti Khalijah Tan Bian Hwee Siti Soleha Noorhisham Tan Boon Kee Siti Zaharah Tan Chong Boon Siti Zahrah Syafiah Tan Dan Feng Siti Zuraida Abdul Rahim Tan Dawn Wei Siwei Tan Hai Ting SJ Tok Tan Hong Wui Soh Poh Soo Tan Hui Ting Soh Sharmin Tan Ing How Sonia Kwek Tan Jee Kai Sonja Steinmetz Tan Joo Hymn Sooty Heng Ee Wen Tan Joon Leng Sophia Natasha Wei Junhao Tan Kheng Hua Sorching Low Tan Kia Wee SP Ong Tan Kok Heong Stacey Koh Tan Kok Kee Stanley Ang Tan Kuan Yee Stefanie Chao Tan Lay Hoon Stefen Chow Tan Mingjuan Stephanie Chok Tan Ngiap Heng Stephanie Ong Tan Pin Pin Stephanie Tham Tan Say Kiong Stephen Russell Tan Seow Wei Steve Andre Tan Shao Han Steve Kyne Tan Shou Chen

31 Tan Shzr Ee Timothy J. Alvin Tan Simin Timothy Nga Tan Tarn How Timothy Yeong Tan Thye Chuan Tin C. Ang Tan Wei Keong Tjhin Wei Liang Tan Wei Ting Toa Jian Hao Tan Yanhe Todd Lester Tan Yiling Toh Meng Kit Tang Fu Kuen Toh Wai Sung Jermyn Tang Heng Tom Keeble Tang Wei Tommy Tan Tang Yee Seng Tong Miin Tania De Rozario Tony Quek Tanneke Zeeuw Tony Tan SS Tanya Lai Toshihiko Yoshigawa Tara Fernandez Trevelyan Neo Tara Melwani Trevor Chan Tara Tan Trina Tay Jia Ying Trina Tan Tay Junyang Tuea Chun Kah Tay Kay Chin Tyler Thia Tay Min Tzang Merwyn Tong Tay Tong Valerie Marie Ted Tan Vanessa Huang Tee Jun Hao Vanessa Koh Tee Wen Shan Vanessa Lim Teh Soo Chin Vanessa Tan Teh Yang Yang Vani Shanmugaratnam Teng Qian Xi Venya GC Sinhaputri Teng Yen Lin Vera Li Teo Danlin Vern Liaw Teo Eng Hao Verne Maree Teo Eng Hock Vernie Oliveiro Teo How Jiann Vernon Cornelius Teo Kiat Sing Veron Lau Teo May Wei Vicki Sun Teo Seok Kheng Vicknes Teo Ting Zhen Victor Lee Terence Chong Victric Thng Terence Lau Vignash Naidu Terence Lim Vincent Ang Terence Tan Vincent Cheng Terence Tay Vincent Wijeysingha (Dr) Thein zaw Violet Nicole Theresa Goh Vishaal Nanik Thadani Thio Sin Hwee Vivian Lee Thomas Tan Vivian Rehberg Thow Xin Wei Vivian Wang Tiang Yan Ming Wai Teng Tim Jaycock Waibel Anna Tim Mou Hui Waiyee Loh Tim Wee WAN Cheng Timmons Wang Fang

32 Wang Liansheng Yeo Hon Beng Wanyu Yeo Khirn Hup Wee K L Yeo Kien Kiong Wee Ting Han, Samuel Yeo Lee Nah Wee Wu-Ming Yeo Whui Mei Wei Lynn Yeo Xi Han Wei Shimin Yeo Yann Yann Wendy Yap Yingxiang Wesley Leon Aroozoo YL Wiggie Yo Siow Yen Wilfred Ong Yohendran Baskaran Wilkie Tan Yong Huey Chyi William Timmermann Yong Luo Shi Willie Tan Yong Yee Ling Willy Chang Yongxin Wilson Ang Yu-Mei Balasingamchow Wilson Goh Yuen Ming De Wilson Ng Yuki Lange Wilson Ng Yvette Wilson Yip Yvonne Chng Winder Roger Vivek P Yvonne Koh Winnie Chong Yvonne Lee Winnie Goh Yvonne Yeo Winston D. Danish Zac Koh Winston Goh Zachary Ho Wiong Heng Zahira Mohd Amin Wirashery Fangiono Zai Kuning Wong Chee Leong Zaki D Wong Chee Meng Zaki Razak Wong Chee Wai Zara Tania Wong Hong Weng Zarina Muhammad Wong Hui Ling Zelda Tatiana Ng Wong Kai Xuan Zhang Jieqiang Wong Lee Zhang Shanshan Wong Meng Weng Zhao Renhui Wong Qin Jiang Zheng Yuepeng Wong Siow Wai Zhenwei Wong Sum Meng Zhirong Wong Wen tsung Zhou Yurou Wong Yung Onn Zhu Feng Woon Chet Choon Zian Ismail Woon Tien Wei Zing Tan Wu Qing Dao Zoea Tania Xu Xin’en Zul Andra Yam YiSi Zulkarnain Hassan Yang Liling Yanli Yap Ching Wi Yap Pheng Hui Yap Zi Wei Yen Chua Yeo Chun Kiat Yeo Dianhua Dan

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