Janice Koh
Singapore
“So, let us not ignore the contribution of NLB to building up a reading culture and raising the literacy of Singaporeans. This is an episode that we will learn from and will move forward from. I thank the contributions of Members, both in and outside the House, on how we can move the process forward.”
“Only a happy mother can bring up happy and positive children. Positive attitudes cannot be taught by textbooks. They can only be taught by the parents' own examples.”
“I just want to mention this, that we recognise that we need to find something to develop the music sector more holistically and with a single vision. This is not new feedback. We have heard this also from the music sector. I agree that we have to take a holistic view.”
“Thank you, Madam. Just a quick response to the Senior Minister of State's reply. I just like to point out that, actually, with the Korean example, Korea does have broadcast quotas for its film and music. They were trying to feed the domestic market first before it could take off internationally.”
“The 21st century competencies put forth by MOE are attributes not easily attainable or even teachable through textbooks or testing. They present different teaching challenges compared to preparing students for exams.”
“" This programme is only in place at eight or nine schools, but there should be more and they should be formally integrated into the learning environment. Sir, the formal integration of drama would encourage schools to support teachers with the necessary resources and time to develop good drama curricula for our students.”
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“So, let us not ignore the contribution of NLB to building up a reading culture and raising the literacy of Singaporeans. This is an episode that we will learn from and will move forward from. I thank the contributions of Members, both in and outside the House, on how we can move the process forward. But finally, as I mentioned earlier, NLB will have to make its own decision and we will have to live with that decision, whether we agree or not.”
“We have been able to expand our adult collection significantly, bringing in titles which may be controversial to some groups in society but we realise that we have to give those who visit the adults' section the option for them to make that decision. I think the Member's description of NLB being caught in a tussle may not be appropriate. I agree with him that when we reviewed it in 2009 and we decided to retain it, it was then looking at perhaps the discussion at that point in time. Things have changed – a fresh pair of eyes took a look at the book again, there was feedback from the public. And they decided maybe it was not appropriate for us to have the book in the children's section. So, my sense is that I do not think that NLB has shifted significantly. But obviously, as I mentioned, because it is not an exact science, you have a different group of people reviewing the book compared to those that were reviewing it in 2009, they have their own views. They make their own decisions and, therefore, they decide. But at the same time, we recognise that this process is never foolproof, so, I am repeating myself: we are now trying to improve the process with the advisory panel as much as possible. I do not think NLB will flinch in future but we have to take into account the concerns of the community and how best to go forward. And I repeat here again, we may not get it right sometimes. Please do not ignore the fact that NLB has been doing good work for how many years. They have served millions of Singaporeans, they have done their very best to do their job as best as possible. And, in fact, NLB, if I may say so, is one of those Government institutions that have received the highest numbers of compliments compared to complaints, because they have done their jobs well.”
“But we will try our very best to draw as much inputs as possible for us to make a decision. On the transparency of the review process and whether or not we will make known the decisions of the advisory panel, again, I do not want to prejudge. I will let NLB work it out. Certainly, I think we will draw as many inputs as possible in that review process and then see what is the best way forward. Assoc Prof Tan Kheng Boon Eugene (Nominated Member): Madam, I view the library as a safe space. It is important in any society to have such safe spaces in which contesting ideas can find a platform to engage. So, I am concerned that in this particular episode, the NLB was sucked into a contest of values. I wonder whether the NLB will now have procedures to avoid being caught in such a tussle. As the Minister recounts, "And Tango Makes Three" was acquired in 2005. In 2009, it passed an internal review. I would like to ask the Minister what changed between 2009 and 2014, in terms of community norms, that required the library to withdraw the book from its Page: 24 collection. I hope NLB will not flinch from making hard choices, particularly when perhaps the easiest way now going forward, in terms of acquisition, is to just opt for "safe" titles. If that is the approach that NLB is going to take, a very timorous approach, then I think society will be a lot poorer and we will not be able to manifest this diversity that Singapore stands for. Assoc Prof Dr Yaacob Ibrahim: I would like to assure the Member that I do not think we will just go for safe titles.”
“As I had mentioned in my reply, the norms will change over time and, therefore, we rely on Government polls and feedback channels and the meet-the-customer sessions that NLB holds from time to time for us to get a sensing. The Member asked me for an assurance as to whether we will flinch or not. It is difficult for me to give the Member the assurance. But as long as we recognise that what we want to do is to try and serve as wide a section of the community as possible and we will continue to do so. Some books that I mentioned earlier we will never bring in because they will incite hatred. Between those extreme right and left books that we will never bring in, there is a vast set of collection that we will have to decide on. And because the Library has differentiated collections, this allows us that flexibility and we will continue to do so. It is in our interests to provide as wide a reading list as possible to Singaporeans. Therefore, as you will see in the adults' section, we have themes which we will never put in the children's section because we recognise that adults have the ability to differentiate. So, I will give the Member the assurance that at least under the current administration, we will continue to do so to ensure that we can try and collect as many books as possible to make available all these books to as wide a section of Singaporeans as possible. I do not think we should prejudge NLB's intentions. At the end of the day, they will do their best. As I had mentioned in my reply, this is not an exact science. Having the advisory panel is a good step to allow NLB another source of inputs to their decision-making process. Will they get it right all the time? I will not give you that assurance.”
“Mdm Speaker, I have three sets of supplementary questions for the Minister. Firstly, in a complex plural society where the socio-cultural context is still gradually shifting, whose community norms is NLB basing its policies on? Is there only one standard set of community norms that prevails? What assurance do we have that, in the future, NLB shall not flinch from its basic purpose as a custodian not of morality but of learning, knowledge and access to a wide range of information? What assurance do we have that NLB will not take the easy way out and only bring in books that will never offend? Secondly, with regard to transparency, can the Minister ensure that there is transparency in the review process, as well as in the deliberations of the advisory panel, so that the public can be kept informed of the recommendations made to the National Library? Finally, I understand that one of the three books that have been challenged was previously removed or even destroyed. Now that the other two have been put back on the adults' section shelves, will that last book – I believe it is "Who's in my Family" – be replaced on the adults' section shelves as well? Assoc Prof Dr Yaacob Ibrahim: To the Member's last question, I am not sure whether that is the best course of action at this point in time. I want the NLB to move forward in terms of the review process. At the same time, we welcome any recommendation. If we find the book suitable, we will acquire it and put it on the shelves. Page: 23 To the Member's first question – whose norms are we looking at – our norms, society's norms.”
“Only a happy mother can bring up happy and positive children. Positive attitudes cannot be taught by textbooks. They can only be taught by the parents' own examples. To ensure success at these critical turning points, we need the combined efforts of the individual, business and the Government to create more opportunities for women at each of these junctures, to enable women to develop their potentials, to provide women with upward channels and opportunities at different stages of their life. Together, we shall pool the wisdom and resilience unique to women and turn Singapore into a caring nation of opportunities. Page: 82”
“"Eight" represents women in their 70s and 80s. This is the important golden years of their life. As Singaporeans' life expectancy increases, people usually will live another 20 or 30 years after retirement. This is a good thing. How to cope with their living, medical and nursing care expenses will be a challenge at this stage. We will explore how to better help these women, especially housewives who have no income for a long time and whose husbands have passed on before them, singles who have looked after their parents or siblings, as well as other vulnerable women. We will help them plan for life at this stage earlier so that they can live their golden years without any worries. On the other hand, as education becomes more accessible, many women have opportunities to receive education. These days, there are many modern "po pos" who not only have rich life experiences, but are also very capable. Many of them used to be professionals, such as teachers and nurses. We hope to provide a platform whereby they can participate in community activities and pass on their experiences and knowledge to the next generation. Even if they are not professionals, these "po pos" from the Pioneer Generation have very rich life experiences, such as making traditional food, reciting old poems and songs, and even sharing their tough experiences in the early days of our nation-building. This will not only narrow the generation gap but also promote a sense of belonging to the nation, allow them to preserve pride and dignity and continue to contribute to the nation and society. Generally speaking, whether our country will be happy hinges on whether our women are happy. We all know our mother is the one who has the most influence on us.”
“"Six" represents women in their 50s and 60s when the children have grown up, got married and they have more free time. "Eight" represents the 70s and their 80s when they are old and may need care from other people. If the three, six and eight can be successfully managed, women will be able to develop their potentials, strive for their ideals and contribute more to the country's development. First, let me talk about "three". Most women in their 20s and 30s, in order to better look after the family and their children, have no choice but to give up their career. If we could further promote flexible working arrangements, I believe more mothers will be encouraged to stay in the workplace, hence increasing the stability of the company. On the other hand, flexible working arrangement is especially important for single mothers and divorcees who have to support the family, because this can make sure they are still able to look after the children and family while having a job and income. Next, "six". In fact, "six" represents middle-aged women in their 50s and 60s. Usually, after their children have grown up and become independent, women at this stage would want to go back to work so that they can apply what they have learnt. In addition, going back to work will also increase their self-confidence, allow them to have their own income and help fulfil their dreams when they were young. Hence, we hope to help middle-aged women rejoin the workforce smoothly or help them start their own business. Besides job-matching, skill-upgrading is also very important. We will discuss with relevant agencies to explore a feasible framework to provide grants and subsidies to help women further upgrade themselves, reintegrate into society and keep up with the times. Page: 81 Lastly, "eight".”
“In addition, we must encourage a new mindset towards ageing and the elderly so that Singapore will not just be a senior-friendly home, it will also be a place where longevity is celebrated and embraced. It is heartening that the Government will start a whole-of-nation action plan to holistically chart ways to support and enable Singaporeans to age with confidence and joy. This will certainly put back dignity and confidence in ageing for many older women who have much to contribute to our society. In fact, 80-year-old actress Sophia Loren said, "There is a fountain of youth: it is in your mind, your talents, the creativity you bring to your life and Page: 80 the lives of the people you love. When you learn to tap this source, you have truly defeated age." Indeed, we should and we will create more possibilities and channels for women to live fully and shine in their golden years. Mdm Speaker, please allow me to continue in Mandarin. (In Mandarin): [Please refer to Vernacular Speech.] In his speech at the Opening of the Second Session of the Twelfth Parliament, the President talked about turning Singapore into a nation of opportunities. Here, I hope Ministries can pay attention to our women and create more opportunities for them so that they can develop their potentials and fulfil their dreams. How to create more opportunities for women? I think other than the starting point, turning points are even more critical for women. There are three turning points in a woman's life. I use three numbers to represent them, that is, three, six and eight. Why do I say this? "Three" represents women in their 20s, 30s and 40s. It is a time when the children are just born and they are especially busy.”
“In order for more women to take up more leadership positions, we all know there must be a healthy pipeline of talents making its way to the top. This talent pool is an untapped one as women tend to make major adjustments to their careers due to family commitments or circumstances. The expectation for a woman to be the family's primary caregiver means that many working women and many working mums face the lifetime challenges of balancing work and family as domestic duties still fall primarily on them. Just last year, in 2013, two out of three residents who were economically inactive were women. Close to half of them cited family responsibilities, such as childcare and care-giving, as reasons for not looking for a job. And about 19% of them were not in the workforce due to old age, poor health or disability. Therefore, we have to continue to look at enhancing the possibilities of work and health throughout a woman's different life stages. We will need to create more opportunities for older women to live well into their golden years, age with dignity, confidence and in place. Women now have longer life expectancies. The average lifespan of a woman is 84.5 years, compared to 77.6 years in 1990. Between 2000 and 2013, the number of centenarians in Singapore has jumped six fold – from 150 to 980. More than half of these centenarians are women. Coupled with a shrinking family size and more Singaporeans working overseas, the incidence of elderly women living alone will certainly rise. Retirement adequacy will also be an issue, especially for stay-at-home mums with limited savings. Schemes to help mothers ease back to work, retraining grants and flexi-work arrangements are some ways that can help women juggle family commitments and receive income at the same time.”
“So, while we celebrate these achievements, we continue to press on to improve the positions of women in our society, for the world today is more complex, fast-changing and dynamic than before. Faced with the prospect of a rapidly ageing population and more intense global competition in the years ahead, women need new clues to navigate the future. It is crucial to create new possibilities of support and opportunities for women at work, at home as well as at leisure. First, at work. Women continue to be under-represented in the workforce and top management positions. Even though the labour participation rate of women has risen, women still make up less than half – just 45% – of our resident workforce. Similarly, while we have seen more women coming into leadership position in the corporate world, the rate of increase could be better in the private sector. Only 4.6% of chief executives in the SGX-listed companies are women, and the proportion of women on the boards of these companies have hovered around 8%. This is below the present 12% average found in industrialised markets. A recent Diversity Task Force proposal to place more emphasis on gender diversity in the Code of Corporate Governance should be seriously considered. This could require companies to disclose their gender-diversity policy and explain why they do not have more women on the boards if percentages are too low. Page: 79 In fact, opening up more avenues for our women to contribute at Board level not only enlarges and increases the opportunities of women but also adds diversity and depth of the companies. Global and local studies have shown that greater representation of women in the boardrooms is correlated with greater and better financial performance and better decision-making.”
“Singapore companies are encouraged to redeploy older employees with the relevant skillsets. These measures have raised the employment rate of women aged 55 to 64 years from 28% to 51% in 2013. Women have also progressed in other fields like the world of business. Ms Olivia Lum of Hyflux has blazed a path of entrepreneurship and innovation in a male-dominated industry. Fashion retailer Ms Elim Chew, business consultant Ms Mildred Tan, ex-Standard Chartered Bank CEO and now Chairman of Singapore International Foundation, Ms Euleen Goh, are amongst many Singapore women who have made their mark not only in business, but also actively contributing to our society. Page: 78 According to the most recent Gender Diversity on Board report, about one in five directors on their boards were held by women. This is above the average of 12% amongst businesses in industrialised markets. This progress is only possible through concerted efforts over the years. As a woman, I am deeply thankful and grateful for the equal opportunities and resources that are made available to me. Education and the ideals of meritocracy have lifted the status, abilities and potential of Singapore women. Today, there are more women than men studying in our local Universities. Today, more girls are going to school. Today, more women are working as well as getting elected, and more women are assuming leadership positions. Compared to our grandmothers and mothers, we have all access to a diversity of options, avenues and more choices for development and fulfilment. Without the commitment of our Pioneer Generation in protecting and advancing the interests of women, as well as the forward-looking gumption of Singapore women, we would not have made such strides.”
“The number of women amongst Singapore's pool of research scientists engineers (RSEs) has been growing steadily. In 2008, women make up 26% of all RSEs and, in 2012, the proportion rose to 28%. According to an Organisation for Economic Cooperation & Development (OECD) report, the participation rate of women in the Singapore RSE workforce is ahead of countries like Japan, South Korea and Taiwan, though slightly lower than that in Finland. Ordinary Singapore women are taking up their places in different parts of our society, even in areas traditionally dominated by men. Some have even emerged first amongst equals. Second Lieutenant Ms Loh Ying is an SAF officer who graduated top in physical training in her cohort of field artillery cadets last year. Presently, the Deputy Director of the Police Force's Criminal Investigation Department (CID) is a female officer. As we all know, this is no mean feat, because the CID has always been perceived as macho ground. The highest ranking female officer in the Police Force is Senior Assistant Commissioner (SAC) Ms Zuraidah Abdullah. She has broken new ground as Police Training Command commander, a position equivalent to that of a one-star general in the Armed Forces. Even in our House today, female representation in our Parliament is at the highest since Parliament's formation. Women now take up 25 out of the 99 seats which translate to 25.3%. This percentage is above the Inter-Parliamentary Union's world average of 21.7%. In terms of jobs and employment, our labour force participation rate for women between 25 and 54 years old has improved from 66.6% in 2003 to 77.1% in 2013. We now have more women employers. In fact, it has doubled, from 16.6% in 2003 to 38.4% just last year. The number of older women being employed has risen, too.”
“Perhaps, this is somewhat uncharted territory for Singapore, and I am sure we might have a few stumbling blocks here and there, but it is clearly an opportunity for the Government to exercise leadership in taking the nation towards our best years, which I agree, lie ahead of us. On this note, Madam, I support the Motion. 5.10 pm The Parliamentary Secretary to the Minister for Culture, Community and Youth and Minister for Social and Family Development (Ms Low Yen Ling): Mdm Speaker, I support the Motion of thanks to the President. Please allow me to start with a story that was published in The Straits Times just last month about 31-year-old Dr Li Jingmei, a post-doctoral research fellow at A*STAR's Genome Institute of Singapore who has just won a US$40,000 award. I would like to relate how her family responded to her award. "When Dr Li Jingmei's mother found out she received this year's UNESCO-L'Oreal International For Women In Science Fellowship – one of only 15 women scientists around the world to do so – Madam Foong Siew Nyok humbly said, 'Oh.' Dr Li's younger brother, network engineer Lee Jing Chong said, 'We do not do celebrations. We are just happy that nothing goes wrong. Any good thing that comes along is a bonus'." Sounds familiar? I think many of us, as Asians, tend to humbly play down successes and focus on what has not been accomplished, what else needs to be done. We are happy that nothing has gone wrong but there is great room for us to celebrate the bonus of progress made by Singapore women today. Page: 77 In many ways, like Dr Li, Singapore women have made strides in the fields of science, business and politics. In fact, Dr Marissa Teo and Dr Patricia Ng have both won the same prestigious award previously.”
“Thought and creativity are like water. Whatever obstacles you put up, sooner or later, they will find a way through. Avoiding "sensitive" topics or steering clear of "out-of-bound" markers does not mean we have moved any closer to understanding an issue or each other's differences. In fact, censoring or restricting films, plays or online sites that seek to examine a complex issue in our society simply because some might find the framing of the issue objectionable is tantamount to cutting off the space for constructive civic discourse to take place and has a chilling effect far beyond the immediate Page: 76 circumstances of the case. The Government should, therefore, rethink its role as a conveyor and facilitator of constructive civic discourse. People have diverse affiliations, competing priorities and pressing local concerns and preoccupations. In our first 50 years as a nation, the Government's instincts were to discourage the discussion of sensitive issues. Its strategy was one of conflict avoidance. Keep the polar groups away from each other, or keep the Government's critics from poking their noses into a policy arena. For Singapore to thrive, we need "critical lovers and loving critics". The Government will have to unlearn those instincts of wanting to draw more OB markers and learn new ones that emphasise dialogue and engagement, both between groups as well as between Government and non-government entities. It will have to practise and impart new skills to facilitate a civic discourse that strengthens our social cohesion in the long term.”
“This does not foster the kind of platforms needed for rigorous debates that could lead to more robust and better policy and civic results. Civil society has a particular role to play, for example, in taking care of the needs of minority and marginalised groups in Singapore. These groups have a place in promoting the values of equality and human rights in the wider interest of society and Singaporeans. I, therefore, welcome Minister of State Desmond Lee's reassurance that active citizens, civil society and the Government can be strong partners so long as everyone keeps an open mind. I hope more space can be made to encourage a diverse range of civil society groups to participate on a level playing field. Let me also make a plug for more space in the arts because art, like debate, approximates reality. Both create circumstances or situations found in the real world, but under artificial, laboratory-like conditions, so that we can examine that world all the more closely. Through scenes, dialogues and monologues in a drama, for instance, the audience has a chance to peek into the inner lives of characters – their doubts and struggles – and recognise them as their own. What is Hamlet doing when he asks, "To be or not to be?" He is debating with himself about the value of life. What are the characters of Kuo Pao Kun, Haresh Sharma or Eleanor Wong doing on the Singapore stage? They are showing a society having it out with itself – working out, how to live with difference, to love against the odds, to find meaning in a rat race. A society having it out with itself. Madam, that is what the arts are for and that is what debate is for. Neither art nor debate will give us definitive answers – but rein them in, and we have got a problem on our hands.”
“Civil society has an important role to play in contributing to robust and vigorous debate in Singapore, and we should open up the space for civil society groups to participate and engage on a more level playing field. A healthy civil society is a repository of expertise and enthusiasm. It expresses the diverse interests of society at large, provides forums for debating matters of concern, and produces and disseminates information so that the public and politicians alike can make an informed contribution to issues that affect the wider interests of society. The position of any given group may not carry the day, but they should not be seen as an inconvenience, or made to feel as if their views were not valid, or that they had no role in shaping the eventual outcome. In this respect, I agree with Members, Ms Faizah Jamal and Mr Laurence Lien, that civil society organisations are important partners as they bring complexity and a fresh perspective to issues, which they are knowledgeable and care deeply Page: 75 about. Madam, the Government should seek to engage with and involve civil society organisations and groups, including and especially those whose perspectives challenge the status quo. Currently, voluntary welfare organisations that are closely affiliated with the Government, or that provide services and programmes that fall within the Government's priorities, are seen as favourable and even given financial support. In contrast, other civil society organisations, like advocacy groups that lobby for policy reform or legislative changes that may not be closely aligned with the state tend to be viewed as problematic and not only do not receive state funding, but are constrained by restrictive laws or financial controls that limit fundraising.”
“We need the means and tools to engage and think – philosophically, culturally, politically and so on – the means to look at and make sense of a complex world through different lenses. This capacity needs to be developed from young. Through education, it is vital that our students are able to hone their faculties for critical thinking and empathy, so that they learn from a young age, how to question, dialogue and understand that there is no one right answer in a complex issue. For those who can debate both sides of an argument, they learn to put themselves in the shoes of others. This capacity to care and speak up, not just for yourself, but for the welfare of others, is particularly important in an age where the Internet and social media have become extremely powerful tools of communication. Already, we can see how easily ideas of xenophobia and racism can gain momentum when people put only themselves in the centre and insist on their point of view. In the short term, debate may be contentious, time-consuming and inconvenient. In the long term, however, society is given the opportunity to consider all sides of the argument, to learn to agree to disagree where necessary, and to listen to each other. Progress is measured not just by the decision of the day and its immediate outcome, but also in terms of whether the group has become more cohesive and grown more resilient towards future challenges. There is an African proverb that captures this succinctly: "If you want to go fast, go alone. If you want to go far, go together". Secondly, Madam, if we accept that public discourse is an important means by which a society hears and processes the diverse points of views within it, then, we must create more space for that discourse to happen.”
“Complex social, economic and political issues are not the same as, say, complicated mathematical problems. Unlike problem sums, there is no clear right or wrong answer to complex issues. As Mr Baey Yam Keng has pointed out, we have learnt, for instance, that Singapore's declining fertility rate is a multi-faceted and complex issue that Baby Bonuses alone could not address. The passage of time changes the nature of complex issues, which can neither be resolved easily nor settled in perpetuity. They can only be managed poorly or well. Often, they are issues the Government alone cannot resolve. In addressing complex issues, we must not just pursue policy results, but also civic results. Civic results are about engagement, empowered communities and active citizenship. Jocelyne Bourgon, the former Secretary to the Canadian Cabinet, has written much about the challenge for government to achieve both public policy and civic results – not one or the other, and not one at the expense of the other. She says, "Public policy results build the credibility of government, civic results increase their legitimacy. Taken together, they provide a foundation of trust." I therefore share Mr David Ong's view that trust can be engendered with the sincere involvement of citizens in the policy-making process. But when we frame the purpose of debate as one of "settling" an issue, we become overly focused on the policy result, and on being efficient, and we risk overlooking the importance of involving citizens and communities in the debate. Page: 74 That being said, I also acknowledge that it is equally important to build our capacity as a people to participate well and constructively in debate.”
“Thank you, Mdm Speaker, for the opportunity to speak on the Motion to thank the President for his Address. Madam, the landscape for governance will be more complex and involve more players in the second half century of our nation's life than it has in the first. People increasingly want to participate in public debates and discussions, either as individual commentators, or as part of a civil society organisation, or a special interest group. Page: 73 It should be their right to do so. Not everyone wants to join a political party to air their views, nor should they have to. In this context, I welcome the President's remarks affirming the need for vigorous debates on the challenges facing our nation. This trend of speaking up, participating, challenging and debating carries risks and opportunities for Singapore. If we get it right, we will be a diverse, plural society where mutual respect is built around a Singaporean identity that is strongly felt, but at ease with herself. If we get it wrong, we may become a brittle nation of closed-minded individuals divided along real or imaginary social fault lines, where an uneasy semblance of peace has to be enforced by interventionist security agencies. The Government has a major role to play in mitigating those risks while making the most of the opportunities. I have two points to make in this regard. First, and fundamentally, we need to disabuse ourselves of the notion that the purpose of a debate is to "settle" an issue. Sometimes, debates cannot be definitively "settled" and, sometimes, coming to a conclusion about an issue is neither an essential outcome of debate nor even a feasible one. Madam, we should distinguish between complicated problems and complex issues.”
“Thank you, Madam. I wish to thank the Minister for being so responsive to my continued call for greater protection of our public artworks. I have three clarifications. The first is regarding the 25 community nodes around the island to encourage arts participation. Are we building the capacity of our own cultural officers and actively training them to work with artists and to develop new audiences? The feedback on the ground from arts practitioners is that there is limited knowledge and experience amongst, say, the PA and CDC staff on the Page: 27 ground. How can we ensure that these key arts personnel at these 25 nodes have the relevant training and experience? Second, regarding the $20 million Cultural Diplomacy Fund. Bringing our arts overseas requires people with the domain knowledge, experience, and the personal connections with major venues and festivals overseas, and such relationships are not built overnight. It sounds like MCCY is acting like a bridge builder. How will the Ministry build the capacity within the Government to establish these relationships and will the Ministry consider extending this funding, not just to arts groups but also to intermediaries like producers and agents who already have the domain experience in marketing Singapore artists overseas? My final clarification and I have spoken much at this debate on the potential of tapping into our Singapore films, contemporary music and designers, which are all part of our creative industries. How will we tap on these sectors as part of our cultural diplomacy efforts? I know these sectors are not under MCCY's charge, but will funding be open to these sectors as well, as part of our cultural diplomacy efforts? And will funding be open to Singapore artists who are already based and working overseas?”
“In this context, I would like the Ministry to consider making it mandatory for corporations and organisations that commission public art to show that they have the means and ability to maintain the work, especially if they have benefited from additional GFA and tax deduction schemes, or tapped into public funds. The Government can make it compulsory for organisations to submit plans and budgets, detailing how they intend to upkeep the work, and official Page: 150 approval can be contingent on these submissions. Another consideration, Sir, which I raised previously in this House, is for the Government to publish a complete list of public artworks in Singapore and their owners. This will not only help create public awareness, it will encourage institutional accountability over the upkeep of the work. Sir, the maintenance and upkeep of public art goes beyond our relationship with the art. It shows others who we are. When Singapore decided to plant trees in our bid to become a "garden city" after Independence, it demonstrated that we were a serious and committed people who can maintain the greenery around us. It was an everyday commitment to show our resolve as a young nation. I hope we can see the maintenance of our public artworks in the same spirit. Growing Singapore's Sporting Culture”
“Chairman, the installation of art in our public spaces invigorates our city. It humanises our built environment and it helps make Singapore unique and distinctly recognisable. Public art is community art because it is inclusive – it is freely accessible and it enables anyone to experience art in the course of their daily life, with no barriers and admission fees. When embraced by the community, public art can become important landmarks that help foster a strong sense of identity and place. From the majestic "Angel of the North" sculpture at Tyneside, England, to the technologically clever "Federation Bells" in Melbourne, Australia, good public art not only brings pleasure to viewers, it can fill us with a sense of pride and wonderment. Even British graffiti artist Banksy's street art has been known to raise the value of the property he paints on. Singapore has no shortage of good public art. Han Sai Por's "Seed Series" at the Esplanade plaza; Kumari Nahappan's "Nutmeg & Mace" at ION Orchard, and Chern Lian Shan's "River Merchants" along the Singapore River are just some of the few that spring to mind. Sir, we have a growing number of organisations and public agencies willing to commission such artworks and no shortage of good Singapore artists who can produce them. This is a positive development. However, we need to turn our focus on another aspect – the proper maintenance and upkeep of these works. The maintenance of artworks is probably not as glamorous as commissioning or unveiling the art. But as a maturing society, we should be respectful of the artist's craft and vision. This means putting in place regulations to ensure the good upkeep of these works.”
“Thank you, Madam. Just a quick response to the Senior Minister of State's reply. I just like to point out that, actually, with the Korean example, Korea does have broadcast quotas for its film and music. They were trying to feed the domestic market first before it could take off internationally.”
“I just want to mention this, that we recognise that we need to find something to develop the music sector more holistically and with a single vision. This is not new feedback. We have heard this also from the music sector. I agree that we have to take a holistic view. I would just like to inform Members that both MCI and MCCY have recently convened a project team comprising multi-agencies, such as NAC, MDA, EDB, STB and WDA, to look into how we can promote the development and promotion of the local music sector.”
“Madam, I have just two clarifications. The first is for the Minister. Minister, you did not really state your view on the broadcast quota for music on radio. I would just like to know what is the Ministry's view on that; and if the Ministry is not prepared to implement that, then how does it intend to work with all the public broadcast stations to increase airtime play for Singapore music? My second clarification is for Senior Minister of State Lawrence Wong on the central body to promote film. I would just like to repeat my point earlier about the South Korean creative industries. They started working on their creative sector in the 1990s and, as a result, by the early 2000s, when digital technology and social media took off, they were able to leverage on those platforms. So, the longer we take to review some of our own ability to come together and coordinate, the longer it will be before we are able to leverage on new developments in the industry. Page: 93 Assoc Prof Dr Yaacob Ibrahim: This is not a new thing that the Member has raised. She has raised this before. We realise that broadcast quota may not be the way for us to work towards ensuring that there is a lot of airtime for local musicians. But having said that, I think our stations recognise that there is a need to provide local music with adequate exposure. I have some numbers just to share with the Member. For example, on MediaCorp, they have dedicated at least about 10% of airtime to local music. On SAFRA, which runs 88.3 Jia, the local music makes up about 20% of its play list. It is an improvement. We would continue to work in this direction by working with our broadcasters. But there was a second concern that she raised together with Ms Sylvia Lim about local music.”
“Page: 74 Madam, it is timely to consider the establishment of a National Film Centre which will take Singapore cinema to the next stage of growth. At present, the Singapore Film Commission serves mostly as a grant-giving body and is inadequately staffed to do little more than perform an administrative role. We need an independent institute that not only commissions films, but also curates, educates, provides scholarship and research, and promotes our films both locally and internationally. It could be modelled after the British Film Institute (BFI) in London, the Cinematheque Francais in Paris, or the Film Society of Lincoln Center in New York. Apart from improving film literacy and providing Singaporeans access to a broader range of films, it can work with the SFC to nurture new works and new voices. It can also partner the National Archives to develop research in our film heritage and spearhead the international outreach of Singapore films by partnering with our embassies across the world. Madam, culture is a core component of a country's soft power in the international arena. In this digital age, film, together with music and television, is amongst the most exportable and easily accessible of our creative assets, and can play an important role in shaping how Singapore is perceived overseas. I, therefore, urge the Ministry to consider the establishment of a National Film Centre, in consultation with local film-makers. Not only is this an important step towards enhancing Singapore's cultural diplomacy, it is also an opportune moment to take Singapore cinema to the next level.”
“Madam, the Singapore film scene has grown significantly over the last 10 years. As the Minister Assoc Prof Dr Yaacob, Mr Baey Yam Keng, Ms Irene Ng have all mentioned, the phenomenal success of "Ilo Ilo", I would like to highlight that this success has been a culmination of years of hard work and determination of many in the independent film-making community. With the significant milestone reached by Singapore cinema, there is, more than ever, a need to plug the gaps that exist in the film scene to ensure sustainable and healthy growth of this industry. Madam, there remains a lack of awareness of local films amongst Singaporeans. When "Ilo Ilo" won the prestigious Camera d'Or at Cannes last year, Straits Times journalist John Lui wrote that such critically-acclaimed films, unlike commercially-driven local comedy or horror movies, make, and I quote, "measly amounts at the box office". This pessimistic forecast is not without justification. "Ilo Ilo" was one of the few Singapore foreign films that eventually did well at the box office. But films that have made significant splashes overseas, such as Colin Goh and Woo Yen Yen's "Singapore Dreaming" in 2006 and Boo Junfeng's "Sandcastle" in 2010, did not do as well as they deserved locally. Madam, film is an art form that has a rich history here that many Singaporeans may not be aware of, going back to the iconic P Ramlee films from the 1950s and 1960s. There needs to be a concerted effort to raise the level of awareness and appetite for such films, as well as the works of film-makers like Eric Khoo and Boo Junfeng. Not only do these films enrich our lives, they cultivate a sense of pride in our own stories and in our storytellers. For that to happen, we need an institution that will view this development holistically.”
“The Korean Wave experienced a significant boost with the development of digital technologies, social media and smartphones in the 21st century. In 2005, they were ranked the 33rd largest recorded music market in the world. Today, they are ranked 10th. But such a change does not happen overnight. The updating of copyright laws, filtering illegal content and more investment in local artists Page: 37 were all major pillars that led to the rise of the South Korean music industry today. Finally, Madam, our state of play for music has been hampered by the lack of a singular vision for music industry development. To be honest, I was not even sure under which Ministry to file this cut, since MCCY, MCI and other economic agencies are all separately involved in the development of this sector, each with their own set of KPIs. But I am glad to see both Ministers in the House today. I hope a central agency or a single body can be formed to work directly, and not in isolation, with industry professionals, to take a holistic view of our music industries' needs. Madam, popular music is such an essential component in the daily lives of many Singaporeans, especially teenagers and young people. Let us make sure that Singapore-made music can be a part of their lives and memories too, as they grow up, and that Singaporeans will have a strong music heritage to look back upon 50 years from now. Media Industry”
“In a previous reply to my PQ on this issue, the Ministry explained that there was not sufficient broadcast quality content from Singapore musicians. What is not good enough exactly? If our recording quality is poor, then let us address that technicality with capability development and raise our sound engineering and mastering standards. Or does "not good enough" refer to the artistry of Singapore music? If so, is this an issue of music preference – a music preference that has been dominated and influenced by decades of listening to American-made pop music on local radio? Radio is a taste-making platform. If we do not help create a taste for Singapore music, then we may never be "good enough". This strategy of broadcast quota is firmly established in countries like Australia, New Zealand, France and the UK. In Canada, for instance, a quota of 20% was mandated in the 1970s, and now, it is at 35%. Funding and tax structures were quickly put in place to support music production, videos, marketing, promotion and touring. Today, there is no shortage of well-known Canadian music artists, from Michael Buble to Avril Lavigne. Second, Madam, we need to develop a strong export strategy for Singapore music, so as to tap into the commercial and soft power potential of our music talent in international markets. The growth of South Korea's music industry is a great example. Once peripheral and small, Korea's creative industries developed their own local cultural assets after investments were made into the creative sector, modelled after the UK creative industries blueprint. Today, it is among the most successful contributors to their national economy.”
“Madam, I am encouraged by the growing support for contemporary Singapore music over the last two years. But deeper, more sustainable efforts are needed if we want to transform what is now just a Singapore music scene into a Singapore music industry. This can only be achieved if key stakeholders play a part to ensure the wider accessibility of Singapore-made music. And in this regard, I have three recommendations for the Ministry to consider. First, Madam, I would like to reiterate the call to establish a broadcast quota for airtime play of Singapore music on local radio. I first raised this at the then MICA COS two years ago. Despite increasing access to digital music online, a sizeable number of Singaporeans still access music through radio. While I acknowledge that locally-produced Chinese and Malay music have been given adequate broadcast exposure, the case is just not the same for English- Page: 36 language music. I appreciate MediaCorp's initiative to play one local song per hour across their English stations after discussions with local music producers last year. I also note that effort has been made to increase airplay through Lush99.5. The station has been doing an excellent job. But this is not quite enough to increase accessibility of our home-grown music to the wider listening public. One local song per hour is not enough to show Singaporeans that we have such diverse and excellent talents like Ming Bridges, Kevin Lester, Charlie Lim, Monster Cat, The Observatory, Shigga Shay, The Sam Willows, I could go on – all home-grown, Singapore music talents who work so hard, whom we can and must be proud of and whom we should support.”
“" This programme is only in place at eight or nine schools, but there should be more and they should be formally integrated into the learning environment. Sir, the formal integration of drama would encourage schools to support teachers with the necessary resources and time to develop good drama curricula for our students. The rebalancing of our system to bring the arts on an equal footing with the sciences is not about producing artists. It is about producing individuals, schooled in both the arts and sciences, who are confident, broad-minded, able to ask questions, and able to look at the world in all its beauty and complexity.”
“Thirdly, despite the increased demand to incorporate drama into the classroom, what is disturbing is that it is not accompanied by the requisite increase in teacher-training. The same study shows that less than 30% of teachers currently using drama have a strong background in the art form. Many teachers have voiced their inadequacy for this task, given their lack of understanding and exposure. There is clearly a need for more teacher-training and support in this area. Sir, as the Education Minister has described earlier, these are teachers who are also desiring to learn to teach. These are teachers who have the heart to train. Can we support them in this journey? Would the Ministry increase opportunities for teachers to learn drama pedagogy, at both pre-service and in-service levels? One way would be for NIE to provide a foundational drama module for pre- Page: 169 service teachers so that they all have a basic understanding of drama before even trying to use it in the classroom. Similarly, the Singapore Teachers Academy for the Arts (STAR) could also provide workshops and advice to in-service teachers on how to design drama curricula as an on-going resource. MOE could also work collaboratively with specialist arts educators on the ground to develop partnership programmes that would support teachers and schools who are keen to do this. The "Teaching Through the Arts" programme, helmed by the National Arts Council, is a good example. Teachers tap into the expertise of arts educators, who mentor them on how to integrate art pedagogies in the teaching of Mathematics and Science. I understand it has been very well-received at Haig Girls' School. The girls are enjoying Mathematics so much more now that they are asking their arts educator, "Are you coming back again?”
“Page: 168 However, I would like to question the continued focus on music and visual art as the only art components in the core curriculum. The focus on Music and Art prevent teachers from actively tapping into a wide range of arts pedagogies available. In Australia, for instance, dance, drama, media arts, music and visual arts are defined as the five art forms in their curriculum. Finland, which consistently performs well in PISA, is even more forward-looking, and specifies nine art forms, including architecture, circus and craft. Sir, I would like to suggest, for a start, that the Ministry consider introducing drama as an art form and as a recognised pedagogical tool in our core curriculum at Primary and Secondary school. I recommend this for three reasons. First, the benefits of drama are manifold. The dialogical processes of improvisation and character-building invite students to ask questions about human behaviour, to observe, listen and build empathy towards others, and to think and express themselves on their feet. Students learn to conceive original ideas, and are taught the creative process, which is an important way to help them understand how ideas are realised and implemented, and how to work with others to make them succeed. Second, drama is already being used to teach core curriculum subjects in more than 180 Primary and Secondary schools, which is more than 70% of all the Primary and Secondary schools. A recent NIE study shows that a majority of schools employ drama to teach English, Literature and Mother Tongue, with a smaller number using it to teach Mathematics, Science, Social Studies and the Humanities.”
“Sir, the education landscape today is still largely focused on the accumulation of knowledge. Given the competitive testing environment, the pedagogy is based on a banking system of learning, that is, accumulating knowledge in the hope that one day, in the future, it will be useful when one needs it. In the past, Confucius would have said that the pursuit of knowledge is about "learning to ask" or "学问". Today, however, the pursuit of knowledge is one of “学了方可就业”, that is, "learning so that one can get a job". But the world, as we know, is changing at an unprecedented pace. Just as Deputy Prime Minister Tharman has highlighted in his Budget round-up speech, we do not even know what jobs might look like in the future. Sir, it is time for us to go back to “学问” and learn how to ask. Only by asking, one starts to understand and prepare for the future, and find out what the world needs and appreciate how one might contribute meaningfully to it. Our children need the capacity to question the status quo, to look at information with a critical and an inquisitive mind, and to respond creatively and imaginatively to it. I believe that what is needed now is an education system that reflects the priorities of a creative age. We must consider a more balanced, a more multidisciplinary approach, one that places the arts on equal footing with the sciences, so that our students have the opportunity to learn how to use multiple intelligences and tap into the imaginative thinking that leads to discovery and invention. I know MOE recognises the need for a more holistic outlook on education. Under its new Framework for 21st Century Competencies, the Ministry has plans to strengthen the teaching of physical, art and music education in schools. It is a great start.”
“The 21st century competencies put forth by MOE are attributes not easily attainable or even teachable through textbooks or testing. They present different teaching challenges compared to preparing students for exams. Imparting these abilities require mentorship, closer guidance, greater student engagement and a more personal connection with students that may call for more intimate classroom settings. Madam, on this, I have two questions: how does the Ministry intend to impart "soft skills" systematically and effectively to our students, and how does it plan to assess its effectiveness, if at all? Also, could the Minister share how MOE determines its current approach to class-size management, and will this focus on nurturing "soft skills" require a rethink of class-size management? Job Scope for Teachers”
“Mdm Chair, I am encouraged by the Ministry's efforts to place more focus on the softer, but critical elements of education in our schools, while easing the emphasis on exam results. Much more than grades, critical thinking, creativity and Emotional Quotient (EQ) skills are what will advantage our young in an increasingly competitive world. Page: 129 Yet, assessing outcomes when imparting non-examinable skills is tricky. Common benchmarks, such as standardised tests – PISA, TIMSS, and PIRLS – may not fully capture how well an education system teaches "soft skills". In fact, a number of international studies suggest that systems with high test-scores tend to produce "high-testing, low ability" individuals, who are less adept at being creative and entrepreneurial. This is a concern in societies, such as Japan, South Korea and China, which also perform well on standardised tests like PISA. I think it is something Singapore should also be concerned about. The OSC survey last year indicated that Singaporeans place lower value on creativity, risk-taking and entrepreneurship. This is evidenced by feedback from employers who say that young Singaporeans tend to lack the confidence, the drive, and the willingness to try new things – qualities necessary for leadership in today's context. Madam, my question to the Ministry is, given the weight of test scores to education benchmarking in Singapore, how will the Ministry mitigate the risk of producing too many "high testing, low ability" individuals through our school system? And does the Ministry intend to broaden benchmarking practices to reflect the changes in the system as we seek more holistic educational outcomes?”
“I, therefore, urge the Government to have faith in its vision for Singapore, in a way that will inspire Singaporeans to continue to have faith in Singapore's future. I can think of no better way for the Minister for Finance to mark Singapore's 50th birthday than for him to deliver a Budget Statement in 2015 that articulates and supports an uplifting vision of what the next 50 years hold for Singaporeans and Singapore. No pressure, Deputy Prime Minister Tharman, but I await with bated breath! With that, Mr Deputy Speaker, I support the Budget. 6.18 pm”
“Sir, when I first joined Parliament, I promised to view the debates of this House through a cultural lens. The Government's Budget Statement of Financial Year 2014 contains a commendable set of measures to assure our seniors and secure opportunities for our future. When Prime Minister Lee spoke about a new strategic direction at the National Day Rally last year, he said this would take us down a different road from the one that brought us here so far. He also sounded some words of caution – there are risks and pitfalls we need to look out for, like undermining our self-reliance and saddling the next generation with the debts of our consumption. It would appear that this Budget has been carefully designed to avoid these risks. But there is also another risk as we embark on this strategic direction, and that is, the risk of not following through on this vision with the required level of boldness and ambition. There are measures to support innovation and skills, but have we sufficiently set creativity as a national priority? Are we investing in an education system that nurtures creativity to future-proof our school-children? Are we embracing creativity as a key strategy to build resilience in our economy? There are measures to support SMEs, but will enough be done to support micro-enterprises, in particular those in the creative sector? Are we giving Page: 138 sufficient weight to the potential of this sector to instill pride locally and expand our influence internationally? There is a substantive package to honour the contributions of the Pioneer Generation, but will enough be done to honour their memories and their connection to this place, which are also the memories and connections of their descendants and future generations to this place called home?”
“While our global city status has worked extremely well for Singapore from an economic point of view, there is incessant pressure for us to conform to a global pattern of living that obliterates differences. Some Members of this House have noted that our malls have become crowded with the exact same stores found in London or Dubai; our neighbourhoods are rapidly gentrifying as traditional businesses make way for hip, upmarket restaurants and cafes. Other than increased prices and the cost of living that accompany this process of globalisation, our sense of place is Page: 137 slowly eroding and, with it, the sacred space and sentimental ties that come from living and caring for what is familiar. Boffins, bureaucrats and businesspeople may come up with ingenious ways to maximise the limited space available, but once we have built sky-high and tunnelled deep down, the only space we can still expand is the one in our hearts. Sir, we need to restore a sense of place, a sense of home, to this city if we are to nurture a strong community and the next generation of Singaporeans who will be emotionally connected to this country. To do so, we need to heed and seriously consider the calls and appeals by communities on issues of heritage and conservation. In balancing the pressures of a global city with the emotional needs of Singaporeans and the imperatives of a small, young nation struggling to define itself against the world, we need to tread carefully, mindful of the meanings and histories of the ground we walk upon. Only then can we nurture the kinds of human capacities that are really needed – learning to do more with less, and to accommodate each other, as well as others, in our compact city.”
“That so many people of such diversity would express such a strong commitment to this place is something to be proud of. If we lose our sense of compassion and generosity, our place in the economic pecking order will be the least of our worries. When I first joined Parliament in 2012, debate over the fate of Bukit Brown cemetery was raging. Pragmatism has prevailed and some exhumations are underway. But we all know it was a turning point. Many Singaporeans discovered a new passion for their heritage. Some even realised their own family history had lain hidden more or less under their noses for decades. The assumption that people will accept development at all costs can no longer be taken for granted. As Prof Wang Gungwu recently wrote about Bukit Brown in mind, "For a community to thrive, it is vital for each to defend the right to preserve what its members want." The heritage phenomenon, he says, "is a measure of cultural resilience, something that comes from living and caring for what is familiar." Sir, in a recent paper published by the Lee Kuan Yew Centre for Innovative Cities, Prof Joel Kotkin noted that great cities are safe, busy and sacred, and he rightly pointed out that Singapore has done very well in the first two areas. Safe – security; and busy – commerce. But something in Singapore is still not working well. Why do polls show Singaporeans as amongst the most pessimistic people in the world? Why is Singapore faring poorly in family formation and total fertility rate? Kotkin suggests that we re-evaluate the third aspect of urban success – the sacred. Sacred spaces are found in those sites and experiences that make one feel an irrational commitment to a place.”
“Sir, the value of our creative industries lies in their ability to seed original ideas, nurture human capital, and play a role in cultural diplomacy. It is not enough for Singapore to be a host to international creative companies. We should also aspire to nurture our own Singapore brands, talents and enterprises in this sector. This has economic benefits, in terms of value capture and building economic resilience. But more importantly, it brings social benefits – it fosters our sense of national pride and identity through Singapore-inspired products, as well as inspires the next generation of creative talent for Singapore. Sir, in the third and final section of my speech, I would like to touch on preserving a sense of home for Singaporeans. Singapore's small size is often noted. We are a "little red dot". But as the population increases and the infrastructure groans, even as land usage continues to be intensified, many feel that Singapore is shrinking: they have less space to themselves and have been paying more for what they have. The past few years have seen an outpouring of frustration from Singaporeans who feel that they have had to welcome too many foreigners too Page: 136 fast. This has had an impact on wages and prices. The fact that such concerns have led to the heartfelt expression of a Singapore identity is both a challenge and an opportunity. The challenge lies in the risk of xenophobia – that we shrink to fit our tiny island by becoming small-minded and hard-hearted. The opportunity arises from the basic fact that we are much bigger than that. Space is tight. But our history is one of welcome and accommodation. Singapore has never only been for Singaporeans.”
“In fact, a jewellery designer jokingly told me that, despite her five years' experience as Managing Director of an international advertising agency, she still finds it challenging to navigate the application process! Sir, to help our micro-enterprises access Government Page: 135 funding, we must simplify the grant criteria and processes. A dollar spent on a local product goes further than one spent on an import. To better support the presence of Singapore design in the market, could we consider "cluster" housing for creative enterprises in unused Government buildings or conserved spaces at affordable or low rents? Not only will this bring vibrancy to a precinct or neighbourhood, it builds a strong identity for Singapore's design culture, and international visitors have the unique opportunity to buy products they cannot get anywhere else. Sir, we also need to broaden and soften the KPIs for this sector. Rather than looking at target sales and financials as outcomes, could we not give more value to other forms of impact, like the contributions they make to quality of life and Singapore's reputation internationally? After all, our creative industries have great potential to extend Singapore's soft power overseas. The success of home-grown fashion label Ong-Shunmugam on the runways of New York or at Paris Fashion Week has a tremendous knock-on effect on how Singapore is perceived as a creative hub. The international accolades for "Ilo Ilo" have thrown the spotlight not only on Singapore cinema, but on Singapore as a whole. Shown in over 30 territories across the world, it is a powerful way of projecting who we are, our stories and our creativity to a global audience.”
“Many creative enterprises are small-scale businesses that face enormous challenges in the current business environment, including escalating rentals and increasing competition from international brands. Last year, the independent boutique called "Blackmarket", which was based at Orchard Central, had to close due to a steep increase in rental. It was one of the very few retail stores that stocked designed-in-Singapore fashion and accessories, and supported independent designers here. While I am heartened by the Government's continued efforts to help our SMEs restructure and raise productivity, I hope the Government will not turn a blind eye to the challenges of the micro-enterprises that contribute to the creative culture of Singapore. Their operations are often too small or too labour-intensive to benefit from automation and they rarely have sufficient upfront capital or cashflow to upgrade and expand. Hansel, a Singapore womenswear label, wanted to take advantage of the PIC scheme to purchase a Point-of-Sale system recently. However, they were so cash-strapped that even raising the funds to pay for the system upfront, before being reimbursed from the PIC cash payout, was extremely difficult. I, therefore, join my fellow Nominated Member Mr Teo Siong Seng's call, as well as others' in this House, to help our micro-enterprises and SMEs survive and develop. Sir, sometimes, this is not just about more funding. Grant funding is welcome but they tend to come with onerous application requirements and KPIs. Perhaps, larger companies with the resources and manpower find it easier to manage these processes. But designers running a two- or three-person outfit rarely have the capabilities to do so.”
“The "Our Singapore Conversation" last year was a good start, and showed that Singaporeans can be actively part of this process of co-creation. I, therefore, agree with Nominated Member Laurence Lien's call to make this dialogue a more permanent process. Sir, it is time to view creativity as a national priority. I fully agree with Minister Lim Swee Say. It is no longer enough to have the first kind of bricklayers, just laying bricks. We need more of the third kind he talks of – the bricklayers who can imagine themselves building homes and hospitals. The ability to create, build and spread ideas is one of the most powerful tools for growth. When we talk about building "resilience" as a nation, we should also acknowledge that the future is unpredictable, and that our ability to react, adapt and embrace challenges swiftly and with confidence, requires creativity. If we are serious about realising the economic vision laid out in this Budget Page: 134 Statement, we need to connect productivity and resilience explicitly with creativity. Next, Sir, I would like to speak up for the individuals and businesses, in particular, the micro-enterprises, who operate in what we often refer to as the "creative economy". These industries, broadly speaking, include activities, such as design, fashion, publishing, architecture, film, music, broadcast and digital media, and the performing and visual arts. The vibrancy of Singapore's creative industries is important, not only because it is an indication of the quality of our ideas and our innovativeness, but because it enables Singapore to stand out from other creative economies in its own way.”
“If this Government is serious about long-term quality growth based on innovation and deeper capabilities, a major change in attitude towards education and educational outcomes is required. First, we need to urgently move away from a narrow, grades-obsessed definition of success, and place the focus more squarely on the process of learning, and learning to learn. Like Dr Janil Puthucheary, I agree that the appetite for new ideas and risk-taking must start from young. Yet, our streaming policy and high-stakes testing environment perpetuate the fear of failure, and penalise us for getting wrong answers. How ironic, since such experiences are integral to creativity, learning and innovation. Second, we need to debunk the myth that creativity is only for artists. Creativity is a kind of literacy that anyone can develop, whether you are an engineer, manager, salesperson or Member of Parliament. At school, the arts and arts education are just some of the ways to cultivate the creative, collaborative and critical thinking skills that are needed in today's world and in the future. By integrating the arts more fully into our core curriculum, we give all students access to its benefits and not just the privileged few who can afford enrichment programmes. Sir, we need to build creative capabilities in our leaders, too, in both the public and private sectors. A generation of leaders who believe they can respond creatively to a changing world, who can imagine and build new systems and services, as well as rebuild declining ones. A generation of leaders, who accept that they may not have all the answers and are willing to have a more open and transparent process of citizen engagement so that ideas can flourish.”
“The example of Anthony and his team is an inspiration to all Singapore artists, but the bigger picture here is not about filmmaking. It is about having the confidence to contribute something original and unique to the world. It is about what keeps you going, and what keeps you invested in your work, when no one is invested in you. Tom and David Kelley, the team behind leading innovation and design firm, IDEO, call this "creative confidence" – recognising that we all have the capacity to create change in the world through new ideas, solutions and approaches. Sir, these are the kinds of qualities we need as a society, and in our people, if we are to remain adaptable and agile as technological innovations bring on the next wave of change to global economies and job markets. Innovation can be a wonderful thing, but it does kill jobs, especially those vulnerable to automation or outsourcing. One immediate risk is rising inequality and social dislocation. One of the most important ways in which governments can help people through this dislocation is through education – an education that prepares our people for an uncertain but exciting future. To this end, management guru Peter Drucker, in 1957, observed that in an age of innovation, "a practical education must prepare a man for work that does not yet exist and cannot yet be clearly defined. To be able to do this, a man must have learnt to learn." Think about that for a moment. Do we have an education system that prepares our people for the future? Can we, hand on heart, say that our students are learning to learn Page: 133 – and learning to love it?”
“But as we seek various economic and social strategies for quality growth and an inclusive society, considerations of art, culture and heritage challenge us to think big, to think beyond borders, and point the way to doing so. Good artists know what it takes to make a big picture, because that is literally their job. Contrary to cliché, they know you do not get there by being vague or airy-fairy. Regardless of the materials you are working with – paint, language, technology, bodies – you interrogate your chosen themes rigorously and relentlessly. Sometimes, the result is literally big like the Sistine Chapel or the long inkwork scrolls of the Chinese literati. At other times, it is as small and perfect as a Japanese haiku, but it contains multitudes. Page: 132 A big picture was made in Singapore recently. A moving picture. Anthony Chen's film "Ilo Ilo" or "爸妈不在家" is a poignant story, set against the backdrop of the Asian Financial Crisis in Singapore, and chronicles the relationship between a family of three and their Filipino helper. It made history when it became the first Singapore film to win the coveted Camera d'OR award at Cannes last year, as well as four Golden Horse awards in Taiwan, including Best Feature Film. A very Singaporean film about a Singapore story has managed to resonate with millions around the world. Anthony Chen's achievement and the international success of "Ilo Ilo" offers some themes for us to ponder as our nation moves forward into the next 50 years. I would like to touch on three of them here. First, making creativity a national priority. Second, supporting our creative industries. And, finally, preserving our sense of home. Sir, we need to view creativity as a national priority.”
“Thank you, Mr Deputy Speaker, for allowing me to join in this debate and to support the Budget. I would like to first commend the Deputy Prime Minister and Minister for Finance for a caring Budget that further strengthens our social safety net and assures Singaporeans that this Government will continue to do more to support those from lower and middle-income families. The benefits under the Pioneer Generation Package, as well as provisions for our seniors, older workers, the disabled and those with special needs, are welcomed measures. They demonstrate that this Government has listened to Singaporeans' desire to extend greater help to the less advantaged among us. The strategic shift in approach from one of tough love to one that is more supportive of individuals, especially those unable to help themselves, reflects a willingness to cast aside old formulas in a changing context. Some may call this a leftward shift. I see it as investments in the social sector that are overdue and necessary, if we are to progress together. Sir, just as how the Finance Minister had said that a Budget Statement is not complete without its fair share of excise duties on tobacco, liquor and betting, my speech is not complete until I speak up for culture and the arts, especially since this will be my last one at a Budget debate. Such intangibles are my bread and butter: art, identity and belonging; the day-to-day practices of mutual respect – and respectful disagreement. These are some of the most fragile, ambiguous and unpredictable domains of human experience. Not, at first glance, the business of politics, but they are also amongst the most powerful and meaningful. They can make the difference between a liveable life, and a life worth living. They offer no quick fix.”
“Like Assoc Prof Eugene Tan, I feel this Bill may inadvertently hinder rather than aid in the healing and recovery of Little India in the aftermath of the riot. These issues, in addition to the lack of sufficient research and data on the causes of the riot, as well as the lack of judicial oversight and safeguards in this Bill, are important concerns that need to be looked at. Madam, in order for us to take a more considered, sensitive and substantiated approach in proposing relevant measures to address similar incidents in future, I feel it is important to wait until the COI's investigations and criminal proceedings are concluded, and until public consultation on the sale and consumption of liquor in public areas is complete. As such, Madam, I cannot, in good conscience, support this Bill at this point of time. 5.38 pm”