Usha Chandradas
Singapore
“A study could also directly engage arts workers, ensuring that any proposed guidelines, if they are issued, will reflect real market conditions and concerns. Ultimately, Madam, salary transparency is not about Government interference or market distortion.”
“This is promising and I have four questions on the Ministry’s future plans. Firstly, has the Ministry performed any assessments on how music festivals can have an impact on tourism and the economy and, if so, what have the results of those studies been?”
“Sir, I would like to seek an update from the Ministry on Singapore's position with regard to three international conventions, namely the Hague Convention of 2 July 2019 on the Recognition and Enforcement of Foreign Judgments in Civil or Commercial Matters (Hague Judgments Convention), the Convention providing a Uniform Law on the Form of…”
“If it succeeds, it can provide arts workers with stability, opportunities and a strong foundation for long-term careers, one that is driven by genuine consumer interest and demand. Sir, I hope the Government can consider taking these suggestions on board and, with that, I support the Budget.”
“I thank the Prime Minister for his assurance that he will consider my suggestions for the visual arts sector. I also raised a number of questions about how the Culture Pass is going to be administered. Could I ask if the Prime Minister has a response to those questions?”
“I think, if the Minister will recall, I referred to the example of an artist. The example that I talked about was the artist, Lee Wen, in his performance and his works, "The Journey of the Yellow Man". So, with this work, he is basically addressing racial stereotypes and it is with a view to prompting audiences to think about the issues.”
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“Sir, in this year's Budget Statement, Deputy Prime Minister Lawrence Wong stated that our Government will support the Our SG Arts Plan (2023-2027) by investing $100 million over the next four years. From the estimates, I note that the amount allocated for the National Arts Council's (NAC's) development expenditure in FY2024 is only around $5.83 million. This appears to be a relatively small amount as compared to the overall $100 million which has been committed to the rollout of the latest Arts Plan. I may be misreading the numbers and if I am, I am very happy to stand corrected, but is the Ministry able to clarify how the $100 million of allocated funds will be applied over each of the four years, including the upcoming financial year? Would the Ministry also be able to explain the rationale behind the allocation of these yearly amounts of expenditure? Finally, what are the Ministry's plans in the coming year to harness more resources to help transform arts businesses and grow the arts ecosystem? The availability of art spaces, for example, is a perennial hot topic. With the very recent announcement by the Ministry of National Development (MND) of the potential conversion of Gillman Barracks into public and private housing, we see the potential loss of one arts district – one that has been associated with the arts at least since 2012, when it was first launched as a contemporary art and lifestyle enclave with many tenants who are well-known art gallerists and galleries. Will the Ministry be working with MND to ensure that the unique artistic character of Gillman Barracks will be preserved or will the space be completely transformed? If it is to be the latter, will alternative spaces be then set aside for the present tenants of Gillman Barracks?”
“If the Government wishes for seniors to be able to age in place and for more women to bear children, there must be recognition of the fact that time-consuming and all-encompassing caregiving duties will necessarily be borne by Singaporeans and, most typically, by women. I would like to suggest that the Government should acknowledge the key role that caregivers play in our community as well as the opportunity costs faced by them when they give up work. I hope that the Government can consider an eventual extension of the training allowance to caregivers if they wish to upskill themselves with a view to re-entering the workforce when their caregiving duties have ceased or when they become less onerous. SkillsFuture Level-Up Programme for the Unemployed”
“Mr Chairman, the newly announced SkillsFuture Level-up $4,000 grant will be applicable to courses with "better employability outcomes." Would the Ministry be able to clarify how exactly the grant will benefit freelancers and self-employed persons (SEPs), a large proportion of whom work in the arts? Skills relevant to the latter group might not be directly related to "employability". For example, freelancers and SEPs may benefit more from training in targeted areas, such as the negotiation of contract terms, business and accounting management and product marketing. Undoubtedly, these skills may be valued by prospective employers as well, but I would like to seek clarification from the Ministry on how SkillsFuture Level-Up courses will take the specific learning needs of freelancers into account. My second point has to do with the training allowance that has been announced in the Budget Statement, capped at $3,000, and which is based on a person's average income earned in the previous year. The Minister has stated that the long-term unemployed and caregivers who have left the workforce will not be entitled to the allowance, as it is meant to provide support for workers and, specifically, those who experience income loss when they commit to full-time training. The benefit, therefore, for now, excludes people, such as caregivers who have had to take time off from paid work in order to look after children or the elderly, and it appears to gloss over the fact that caregiving is also a kind of work. It is just unpaid and outside the formal confines of an employer-employee relationship.”
“Sir, first of all, let me thank the Government for its very hard work in bringing all these top-tier events to Singapore. I think the community really appreciates the work that has been done. I have two supplementary questions for the Minister. First of all, as part of the terms and conditions of the deal that was struck to bring Taylor Swift to Singapore exclusively with the support of Government grants, was there the potential to include the involvement and profiling of local musicians? So, for example, when Coldplay performed earlier this year, local musicians featured as opening acts; when Ed Sheeran performed in Singapore, he famously did a duet with JJ Lin and he also profiled a watch strap that was made by a local company. So, my question is, were similar cross-marketing opportunities contemplated when negotiating with Ms Swift's team and if not, is it something that the Government can keep in mind for future concert deals? My second question relates to the disclosure of the terms of the deal that was struck between Ms Swift's team and the Singapore Government. As we have seen in the news, the exclusivity clauses have struck a nerve with some of our neighbouring countries and caused some amount of tension. So, my questions are these: were confidentiality clauses about the exclusivity arrangements built into the contracts and if they were, were these terms breached? And if so, will the Government be taking any enforcement action against the relevant parties?”
“Will EDB and Enterprise Singapore be working on any specific projects or plans in the coming financial year that are related to the development and growth of our creative economy? If there are any specific plans underway related to the creative economy, can the Ministry share the particular areas of focus? RIE2025 – Singapore's R&D Efforts”
“Mr Chairman, Singapore has a vibrant and flourishing creative economy which includes sectors, such as the arts and culture, media and design. According to the Ministry of Culture, Community and Youth (MCCY), in response to a Parliamentary Question filed by me earlier this year, the nominal value added from these three sectors increased by close to 50% over the past five years and the increase was from $7.9 billion in 2017 to $11.7 billion in 2022. MCCY has also stated that in the coming years, the outlook for the creative economy in Singapore is positive. According to MCCY, while the growth of the sector depends on many factors, there are opportunities for creative practitioners, especially if they are able to capitalise on growing demands and trends. This includes the leveraging of technology and working with regional and international partners to reach audiences beyond Singapore. MCCY also provided assurance that the Government will continue to provide support to help the sector grow by injecting funding, providing skills development opportunities and brokering partnerships with the private sector to open up opportunities for creatives. Could MTI clarify how much of its own development or other expenditure will be allocated to the growth and development of Singapore's creative economy in the coming financial year? For example, will any significant expenditure be incurred by the Singapore Tourism Board for the promotion of tourist consumption of Singapore arts? Can we expect to see more expenditure in the profiling of Singapore as a premier destination for creative and cultural consumption? We saw this very recently with the Taylor Swift Eras Tour concert and the Government's outreach to Swift's team.”
“Thank you, Mr Chairman. Just a very quick statement. I thank the Minister and Senior Parliamentary Secretary for their comments. I just wanted to clarify that I am well aware of NAC's very, very good initiatives on arts housing, but what I have heard from artists on the ground is that demand for these schemes far exceeds the supply. So, the reason why I was raising this query through a cut for MinLaw was to see whether SLA could expand the scope of what it does and consider extending some subsidies to arts groups. I thank the Senior Parliamentary Secretary for her confirmation that this is something that she will take into consideration.”
“Thank you, Chairman. I have two clarifications for Senior Parliamentary Secretary Rahayu. I thank her for her detailed response to my question. My first clarification, if I understand the Senior Parliamentary Secretary correctly, is it the case that presently, no rental subsidies are provided by SLA to tenants that are either artists or arts groups? And if that is the case, would SLA be open to reconsidering this position, given the important role that arts groups play in place-making in Singapore?”
“Chairman, I apologise for the interruption and I thank you for allowing me to have a chance to clarify. I forgot to declare my interest earlier when I was making my cut. In fact, I live in a property of which SLA is the landlord. So, I would like to declare my interest and I thank you for allowing me the chance to do that.”
“While arts offerings fulfill an important social aim and once again, this social aim was something that was identified by Deputy Prime Minister Lawrence Wong in this very Budget. These aims may not always be adequately supported by the operation of free market economics. If the Ministry is able to step in and assist with arts housing, it would not only alleviate the cost pressures faced by artists but it would also help to enliven these spaces around us. Criminal and Civil Justice System”
“Mr Chairman, affordable arts housing is hard to find in Singapore and yet, the arts have a crucial role to play in placemaking or, in other words, the creation of meaningful spaces where people live, work and play. Here, I would like to refer to academic Hoe Su Fern and her 2019 article entitled, "The role of the arts in placemaking Singapore". She says, "Every space has a history, a culture, and connections to the other spaces around it. As idea-makers and story-tellers, artists are able to create unique, uplifting stories that inspire curiosity and a sense of discovery; and most crucially, build emotional connection to a place." This is especially relevant with regard to the older properties managed by SLA – which are full of local history, charm and interesting architectural detail. Could the Ministry of Law clarify if there are any plans underway for more SLA-managed properties to be put to longer-term use by arts groups; and if so, whether they will be offered subsidised rental rates? The Straits Times recently featured an article on the independent arts cluster located at 195 Pearl's Hill Terrace. Minister K Shanmugan had mentioned that a potential extension of lease terms for the Pearl's Hill Terrace tenants would depend on an assessment by the relevant agencies; and that these agencies would look at "their value and the service they provide to the community." Would the Ministry be able to provide more specific detail on the kinds of factors that will be taken into consideration when such an evaluation is made? I would like to suggest that more arts tenants be offered subsidised rental rates and longer tenancy periods when they occupy properties managed by the SLA.”
“Madam, the police and National Parks (NParks) Board have prohibited protests and demonstrations on the Israel-Hamas conflict. Nonetheless, there are many Singaporeans who continue to feel strongly about the conflict and are looking for way to express their views and emotions. While Singaporeans may be able to understand the Government's foreign policy position, one has only to look to social media to see the outpouring of reactions amongst Singaporeans about the devastation that has been inflicted on Gaza. This has not abated and may even have increased as the conflict continues to rage on. Influencers have also been reported in the press as having been approached or questioned by authorities on their activism about the conflict. There is still clearly very strong sentiment on the ground about the conflict. I would like to ask: can the Ministry provide a clear clarification on how Singaporeans can express their views, but in a way that is lawful and that will continue to keep our society united and harmonious? Maintenance of Racial Harmony Act In his 2021 National Day Rally speech, the Prime Minister announced that the Ministry will be introducing a Maintenance of Racial Harmony Act. This law is meant to include "softer" measures that can order someone who has caused offence to stop doing it and to make amends by learning more about the other race concerned with a view to mending ties. Can the Ministry provide updates on the status of this proposed law? Will it in fact be implemented and if so, how will this new law seek to balance the maintenance of social order with the need for freedom of expression in our society?”
“Mr Chairman, my cut concerns Singapore's work with other small states. Small states, by their very nature, share specific concerns and common interests, such as environmental and economic vulnerabilities. Singapore has historically supported platforms that allow small states to discuss and foster common positions on issues of mutual concern. Accordingly, this gives all parties involved a much bigger voice in the United Nations. Can the Ministry provide updates on Singapore's planned initiatives in 2024 in its work with other small nations through platforms, such as the Small Island Developing States, the Forum of Small States (FOSS), 3G and the Alliance of Small Island States. In particular, can the Minister explain how Singapore is planning to engage with and assist these groups to prepare for common challenges, such as that of climate change? Malaysia”
“Sir, notwithstanding these clarifications, I support this year's Budget and I thank the Deputy Prime Minister, once again, for championing the arts community in his Budget Statement.”
“I fully understand that the valuation of artwork purchases is a complicated area but there are ways to alleviate the risks associated with the subjectivity of valuation. One way is to rely on valuations from trusted and accredited valuers, and we do have a number of them in Singapore. Another way could be to expand the pool of skilled valuation professionals in the space. The Art Galleries Associations of Taiwan and Korea, for example, have formal art appraisal and valuation arms. We have, in Singapore, our own Art Gallery Association of Singapore (AGAS) and, presently, it is entirely member-run. While I understand that the Government has committed some resources to supporting AGAS' work on an ad-hoc project-basis or on a reimbursement basis, more can be done to assist the association in expanding its work so that its operational capabilities are on par with what similar associations in the region are able to offer. It would be a good start, for example, if the Government were able to empower or sponsor AGAS to commission a study on how the local art gallery ecosystem can better support our economy. This could be in the sphere of valuation or even in the area of general research into tax and economic policies which are relevant to the arts. To conclude on this point, while I welcome the enhancements to the tax deductions available under section 14N, I hope the Government will continue to re-evaluate the conditions of the scheme in future and consider whether these conditions can be adjusted to encourage purchases of art in Singapore. Tax benefits such as these will certainly contribute to the development and growth of our visual arts sector.”
“But if the original intent behind the concession was to provide an incentive to encourage creative work, then I hope that the Minister is able to clarify the policy intentions now behind the revocation of the incentive. My second clarification is on whether the incentive has served its purpose in encouraging the work of authors, composers and choreographers? Would the Minister be able to share the impact that the incentive has had over the years? Finally, what is the expected effect of this change? Does the Ministry have a sense of what the projected increase in revenue collection will be as a result of the rollback of this incentive? The next change I would like to address concerns the enhancements to the tax deduction for Renovation or Refurbishment expenditure, under section 14N of the Income Tax Act. The scope of qualifying deductible expenditure under this provision will now include designer fees or professional fees. This, to my mind, is important acknowledgment of the work of designers in renovation and refurbishment works, and offers a good incentive for businesses that pay their designers a fair and equitable wage. That being said, deductions are still expressly disallowed on the purchases of antiques and any type of fine art, including painting, drawing, print, calligraphy, mosaic, sculpture, pottery or art installations. While general capital allowance deductions may be available for the purchase of artworks that qualify as "plant", the Inland Revenue Authority of Singapore (IRAS) has only clarified so far that qualifying conditions may be met in hospitality-related businesses, for example in clubs, restaurants and hotels. Artwork purchases in other types of settings, such as in offices, may not qualify.”
“For YA2027 and YA2028, eligible taxpayers may continue to claim the tax concession based on higher specified rates but with effect from YA2029, the concession will no longer be available. Taxpayers will be required to report the net amount of royalties earned and will be taxed on them accordingly. Looking at the legislative history behind this concession, I note that the incentive was introduced in the Budget Statement delivered in 1983. The then-Minister for Trade and Industry, Dr Tony Tan Keng Yam, stated that this would be, "An encouragement to creative talents, such as authors and composers." He continued that, "the concession will enable local publishers to offer better terms to authors and composers living in Singapore and abroad." He continued that, "foreign talents will find it worthwhile to get their works published here." In the year 2000, the concession was liberalised further to include royalty payments received by a composer, an author or a choreographer from music recording or film, dance or drama production businesses in Singapore. When moving the Income Tax amendment Bill in that year, the then-Second Minister for Finance, Mr Lim Hng Kiang, once again described these changes as being put in place to "encourage the development of the arts and innovation in Singapore." Sir, I have some clarifications on the changes to the concession that have been announced in this year's Budget. First, what is the rationale behind these changes? From 2024 Budget materials, it is stated that the change will "ensure parity in the treatment of royalty income", which is fair enough in principle.”
“Just this past weekend after the Budget Statement, I saw an artist friend lamenting on her Instagram stories that a potential customer had enquired about the prices for her embroidery art. When she explained that her work was priced in a certain way because she had to personally commit 40 hours of painstaking work by hand, the customer replied with a flippant, "Alrighty, maybe I'll get it on Taobao." To make things worse, the artist then found online stolen pictures of her work on Taobao, and these were being advertised by unscrupulous sellers who were purporting to recreate her designs for a fraction of her selling price. This kind of careless disrespect for artistic work is something that many working artists in Singapore continue to face. Better exposure to and awareness of the arts will help our communities to understand and, hopefully, better appreciate the important role that our arts workers play in our society. To this end, the Government's plans to make the arts more accessible to all Singaporeans are indeed very welcome. I look forward to the Committee of Supply debates that will allow us to further explore the opportunities presented for the arts community in this Budget Statement. I will now move on to address two tax changes which were announced in the Budget, and I would be grateful for the Minister's clarifications on these. In this year's Budget, it was stated that in order to ensure parity in the treatment of royalty income, the current tax concession of taxing only 10% of gross royalties earned by authors, composers and choreographers or any company wholly owned by them will be withdrawn in phases, with effect from Year of Assessment (YA) 2027.”
“Mr Speaker, Sir, I rise in support of 2024's Budget Statement. In particular, I applaud the Deputy Prime Minister, Mr Lawrence Wong, for his very clear statement in this year's Budget on the importance of the arts. As he has said, they help to express our unique Singaporean culture, strengthen our shared bonds and make Singapore a distinctive home. I thank him for his commitment to investing $100 million over the next four years to roll out the latest SG Arts Plan. The Deputy Prime Minister has said that more diverse pathways will be offered so that every individual can strive to be the best possible version of themselves, and this statement was particularly resonant with me. He said that we must accord greater value to those who are skilled in technical hands-on abilities as well as those with the social and empathetic traits to excel in service jobs. While the Deputy Prime Minister referred to the specific example of an ITE graduate who excelled brilliantly in his chosen path, let us also not forget the vast majority of people who work in non-white collar jobs who might not be superstars in their fields but whose labour and service is key to the functioning of our society. Just as MOE encourages us to remember that every school is a good school, it must also be the case that every job is a good job, as long as it earns you an honest wage. And this is a point that many Members have made in the House over the last two days. While this Budget highlights ITE students, members of the arts community also face struggles related to their wages and the misconceptions attached to the value of their role in society and their work.”
“I would like to clarify what is MOH's position on the regulation of art psychotherapists. The Senior Minister of State has acknowledged that art interventions are an important part of our mental health and wellness strategies. But I would like to clarify, will the Ministry be engaging with arts wellness practitioners as well as our arts therapies communities to further this strategy?”
“Mr Speaker, I have a clarification for Senior Minister of State Janil Puthucheary, if I may?”
“While we seek to improve mental health and well-being for employees in a workplace environment, we should also remember to protect and respect the mental health of third-party service providers. These are service providers who may work with us on a self-employed basis or on a freelance basis. Workers such as these may not have access to things that the rest of us take for granted, like paid medical or childcare leave. It is not right, for example, for organisations to prioritise the mental well-being of their permanent staff internally while pushing third-party service providers or freelancers to work to the point of burnout. In order for our National Mental Health and Well-being Strategy to be effective, we must not forget the self-employed and we should ensure that positive mental wellness initiatives extend to everyone.”
“In a similar vein, the National Mental Health and Well-being Strategy correctly identifies that an individual's mental health is not just affected by his or her own psychological well-being but is shaped by larger driving forces in society. This includes a combination of biological, social and environmental factors. In a recent research report from Queen's University Belfast, which involved a survey of nearly 600 creatives across a range of artforms, it was found that the likelihood of mental health problems in the arts sector was three times that of the general population. The most common diagnosed disorders were anxiety at 36% of the group and depression at 32%. This was linked with job precarity in the industry and included factors like erratic and short-term employment, low pay, work-over and under-load, and time away from loved ones. These are problems that affect our arts and cultural workers in Singapore too. The National Arts Council's Arts Resource Hub has done good work in supporting the arts community. One of its recent projects involved hosting a gathering led by CITRUS Practices. This is a group that does important work in providing free resources for the care, support and wellness of arts workers. Initiatives like this should be encouraged and supported further, ideally with funding from the Government where this is required. While our National Mental Health and Well-being Strategy identifies the issues faced by workers in a traditional employment situation, there is scant detail on the problems faced by the self-employed. As we know, at least one-third of the arts and cultural workforce operates on a self-employed basis. This is something that I had spoken about previously as well.”
“Practitioners themselves are divided on the issue, and there is some acceptance of the idea that certain art-based interventions and modalities can be delivered well by experienced practitioners who do not have a formal post-graduate education. However, what all practitioners I have spoken to agree that the idea is that harm can be caused, and especially amongst vulnerable patients. Minimally, frameworks should be put in place to stop this from happening. Whether they have to do with formal frameworks of better consumer education, there are certainly steps that can be taken to protect vulnerable populations. In his 2022 op-ed for Today Online, Mr Ronald Lay rightly points out that art therapy as a discipline is relatively new in Southeast Asia and that postgraduate art therapy training at LASALLE is the only one of its kind in Singapore and in Southeast Asia. With growing interest in the field, there is an opportunity here to create new and better jobs for our creatively inclined communities. To this end, further professional development and support for the field of art therapies, and arts-related wellness, is something that I urge the Government to consider seriously. Next, Mdm Deputy Speaker, I would like to address the mental health issues faced by the arts community itself. Now, this is a community that is composed of a great number of self-employed people. As much as we wish to consider a whole-of-Singapore effort to implement a national strategy to enhance mental health and well-being, we should not forget the specificities related to individual groups within the wider community.”
“As explained to me by various members of the art therapist community, there is a clear difference between a situation where an individual engages in art-making or creative activities on their own for their personal enjoyment and therapeutic benefit, and a situation where a third-party practitioner uses art therapy techniques as interventions for diagnosed physical and mental health conditions. As the Minister has himself observed in his reply to my PQ filed last year, these kinds of interventions should be guided by professional recommendations. Regardless of this, in Singapore, anyone can hold themselves out as being an art therapist. Because of the lack of local regulation and accreditation, it is not necessary for people to be trained in any particular way. I have been told anecdotally by art therapy practitioners that there can be unethical or uninformed use of art therapy by untrained persons, who may design programmes and art-based interventions intended for vulnerable populations. These include people who have diagnosed with mental health conditions or who have special needs. When this happens, harm can be inflicted and there is no recourse for such populations. In the UK, by contrast, arts therapists are included as allied health professionals and accordingly, they are subject to a level of regulation and accountability. Here we see that regulation protects vulnerable populations, enhances confidence in the field and stimulates growth in the profession. That being said, I also recognise that regulation in the field of arts therapies is not a straightforward exercise.”
“I urge the Government to commit resources towards supporting our arts community in this direction. There are a few ways in which the support can be rendered. First, as I have said, we can dedicate more funding towards the research of arts therapies and arts wellness initiatives. In this way, we will be able to mine more data on their efficacy. While it is possible to rely on foreign research findings, cultural specificity in data is also important. The kinds of therapies and methods that might work in a Singapore context might not be applicable elsewhere and vice versa. Private charities like the Red Pencil are already doing significant work in gathering data on the effects of art therapy, and their activities and those of other like them should be supported by the Government. Next, I would also like to urge the Government to consider engaging with the arts therapies communities to assist them, if required, in implementing some kind of formal accreditation and regulation system. The Art Therapists’ Association Singapore is one example of a non-partisan not-for-profit professional body which is run and regulated by its members. It was established in 2008 to represent the emerging profession of art therapy in Singapore, and it seeks to advance its' members growth and development. In 2021, when asked in a PQ filed by the hon Member Mr Muhamad Faisal Abdul Manap on whether there are plans to recognise art therapists as allied health professionals, the Minister for Health replied that there was no need to legally regulate the practice of art therapy. The view taken was that art therapy by its nature does not pose significant risk of harm to patients. With respect, I beg to differ with the position that has been articulated by the Minister.”
“The points I would like to communicate here are simply this. First, there are quantifiable health and cost benefits in the utilisation of art as a form of wellness and in personal artistic experiences, as well as in the field of art psychotherapy. We see this locally, from the experience of other countries and also from the research of the WHO. These benefits support the case for a formal acknowledgement by the Government, of the arts as an important device in our arsenal of tools to promote better mental well-being. The arts and arts therapies have a key role to play in every tier of Singapore's National Mental Health and Well-being Strategy. Next, having identified the importance of the arts and art therapies, resources should be put in place to ensure that more relevant data is obtained, and that the practitioners of the arts therapies and arts wellness initiatives, are themselves well-supported. We have all the basic building blocks for this in Singapore and more. We have masters-level educational programmes in art and music therapy. We have a brand-new University of the Arts with excellent research capabilities and we have professional associations such as the Art Therapists’ Association Singapore (ATAS). We also have an Association of Music Therapy Singapore. We already have entities like the Assisi Hospice, Singapore Cancer Society and various hospitals, amongst others, that not only work with our art schools but have also put in place dedicated art therapy and arts wellness programmes. These are in place for their staff, patients and beneficiaries. Our national mental wellness strategies should explicitly include these arts therapies and arts-related wellness initiatives.”
“On this point, I would like to emphasise that a good deal of research is being done and has been done in the field. In 2019, the WHO Evidence Network released a landmark scoping review of over 3,000 research studies that explore the effect of the arts on health and well-being. The studies looked at participation in performing arts, visual arts, literature and engagement with culture and heritage. Overall, the review concluded that the arts could have key roles to play in the prevention of ill health, the promotion of good health and the management and treatment of a range of different conditions. There are many examples of studies that have been conducted in the field. But for today’s purposes, I would like to highlight a 2017 UK report by the All-Party Parliamentary Group on Arts, Health and Well-being. This report was issued in the UK and it spotlighted a scheme called the Artlift Arts on Prescription Scheme. This was administered in Gloucestershire County in the UK. Here, health professionals referred patients with diverse mental and physical conditions to an eight-week arts programme. A University of Gloucestershire evaluation, using the Warwick Edinburgh Mental Well-Being Scale, showed significant improvements in the well-being and moods of patients. With larger sample sizes being observed in 2014 and 2017, the findings remained consistent. Statistical analysis revealed a remarkable 37% drop in GP consultation rates and a 27% decrease in hospital admissions. By considering the reduced costs to the NHS in relation to the cost of the Artlift interventions, it was determined that there was a real saving of £216 per patient. This underscores the compelling impact of art-based interventions on mental health outcomes.”
“Having said that, the Strategy does not expressly mention anything about the role that the arts can play. This is in contrast to the policy positions that have been taken overseas. In Greece, a Memorandum of Cooperation for Cultural Prescription has been signed between the Ministry of Culture and Sports and the Ministry of Health. This sets out specific cross-governmental programmes of work to train artists, cultural workers and healthcare workers concurrently on the design, implementation and development of cultural prescription programmes. It also raises awareness of such schemes with the public. In Wales, Memorandums of Understanding have been signed between the Welsh National Health Service (NHS) Confederation and the Arts Council of Wales. These set out efforts to work together for the advancement of arts, health and well-being. In September last year, I asked the Minister of Health the extent to which art therapy is included as part of HPB's initiative towards helping communities to achieve better mental health. He replied that HPB does incorporate art-related activities, for example, mindful colouring, in their mental well-being workshops and acknowledged that "the appropriate inclusion of art, music, exercise and social interactions into our daily routine will be good for all of us." However, he also stated that evidence on the effectiveness of art therapy was said to be "still evolving." The Minister is not wrong in his focus on an evidence-based approach and, indeed, one common misconception about the field of art therapy is that its statistics and data are not as detailed or rigorous as the clinical data typically relied upon in the medical profession.”
“From a training perspective, this amounts to over 177,000 hours of documented clinical art therapy services provided across Singapore by postgraduate trainees. Art has an important part to play in both preventative and curative healthcare. There is a whole sliding scale of uses of art for therapeutic purposes. On one end of the spectrum, you have arts as they are practised by the individual. So, quite simply put, if you or I engage in the act of, say, painting, this act of painting allows us to immerse ourselves in an activity which is meditative and contemplative. It might allow us to momentarily lose focus on our troubles and this is an example of what is sometimes referred to as the "therapeutic value of art". I am glad that the Government presently supports many art and cultural wellness initiatives through the good work of the National Arts Council (NAC) and the National Heritage Board (NHB), as well as their partners in the private sector. On the other end of the spectrum, we have the notion of "art psychotherapy", and this is where a third-party professionally trained practitioner engages in a form of psychotherapy that utilises art media and creative outlets as its primary mode of expression and communication. Art and music therapy, for example, allow participants to express themselves, when words are not enough to express their thoughts and emotions. It is especially useful in cases where such participants are non-verbal or pre-verbal, and where modalities like cognitive behavioural therapy cannot work. Both curative and preventative healthcare are needed as part of a holistic approach to public health. This is something that the National Mental Health and Well-being Strategy 2023 advocates for with its tiered approach.”
“Mdm Deputy Speaker, I rise in support of this Motion and would like to bring to the attention of the Government two issues that relate to the arts community. First, I would like to speak about the importance of art-related therapies in alleviating mental health conditions; and second, I will address the mental health concerns faced by arts and cultural workers themselves. The hon Member, Dr Wan Rizal, in moving this Motion, briefly mentioned the role of art in wellness initiatives and I will be expanding on this idea as well. To provide some background, the term "arts therapies" is generally understood to refer to the four separate professions of music therapy, drama therapy, art therapy and dance movement therapy. Each of these arts therapies requires specialist training in their own art form and in the application of these art forms in a clinical therapeutic setting. For ease of reference, when using the term "arts therapies" in my speech, I will be referring to the wider understanding of the term and when I refer to "art therapy" in the singular, it will be to describe the particular form of psychotherapy that helps people to effect change and growth through the use of art media and creative outlets, in a supported and safe environment. LASALLE College of the Arts, which is now part of the University of the Arts Singapore, has offered a Master's level degree in Art Therapy since 2006. It will also be launching a Master's programme in Music Therapy come August 2024. According to a 2022 op-ed written for Today Online by Mr Ronald Lay and Mr Lay is the programme leader of the Master's of Arts in our Therapy programme at LASALLE, 198 qualified art therapists have graduated from his programme.”
“I am given to understand that victim-survivors may choose not to report their cases due to fear of harm or revenge from perpetrators or because they are concerned about the impact of the reporting on such perpetrators. These may be people who are known to them or even be family members. These concerns are actually quite unrelated to the severity of the actual punishments that are meted out to offenders. In more extreme cases, if punishments are overly harsh, victim-survivors who are the subject of coercive control might hesitate to come forward in the first place to report that offences have been committed against them. As a final point, I seek the Minister's assurance that even if enhanced penalties are introduced under SEPP, that the Government will continue to implement and expand victim-centric and trauma-informed solutions, especially in cases where violence is committed against women.”
“The submission states, and I quote, "More recent studies find that people serving an IPP sentence consistently describe mental and emotional deterioration caused by the sentence, including feelings of depression and hopelessness, feeling very anxious, symptoms of paranoia and psychosis, suicidal urges and feeling fundamentally "changed" for the worse". A study by the UK Ministry of Justice in 2021 noted that, "The rate of self-harm in people serving an IPP sentence is around double that of people serving a life sentence and almost double that of people serving a determinate sentence." In light of the higher potential for mental health issues among SEPP prisoners serving indeterminate sentences, rehabilitation programmes should be available in quantity and they should be accessible to offenders in a timely manner. I seek the Minister's clarification on the kinds of rehabilitative treatment and mental health support that will be made available to SEPP prisoners as well as their family members. My third clarification has to do with how the new SEPP regime gels with victim-centric approaches to criminal justice, especially in the realm of violence against women. In 2014, the Association of Women for Action and Research (AWARE) issued a report to MinLaw entitled AWARE's Recommendations on Sexual Assault Law in Singapore. In that report, AWARE put forward the view, based on its own research and work, that the most urgent priority for policies tackling sexual violence is to improve the processes for investigating cases and achieving convictions. In the experience of AWARE’s Sexual Assault Care Centre as reported in the 2021 AWARE paper, An Omnibus on Gender Equality, formal reports are not made in 70% of cases of sexual violence.”
“Before imposing the sentence, the new proposed law requires the Courts to call for and consider a psychiatrist's report as well as any report submitted by the offender or their lawyer on the offender's risk of causing serious physical or sexual harm to others. That being said, under an SEPP, an offender will be detained for a minimum term of between five and 20 years. At the end of the minimum term, the offender will not be automatically released. But, instead, will only be freed if assessed to no longer pose a threat to the public. This assessment will be made by the Minister for Home Affairs, based on the advice of an expert panel. If the offender is found to be unsuitable for release, they may continue to be detained for an indeterminate period of time. These are extremely severe provisions and I seek three clarifications from the Minister on them. First, will any clear sentencing guidelines be issued to encourage consistent sentencing by the Courts under the SEPP regime? Second, what kinds of rehabilitation programmes will an offender be required to attend? In 2022, the UK House of Commons Justice Committee issued a Report on Sentences of Imprisonment for Public Protection (IPPs). This is a scheme in the UK that is somewhat similar to SEPP. In the Report, a joint submission was made from 50 psychologists, psychiatrists and psychotherapists who had experience of working with people serving the IPP sentence. In that submission, various forms of psychological harm were identified as having emerged from the imposition of an indeterminate sentence.”
“I seek clarification from the Minister on the kind of standard that will be applied in determining what exactly constitutes such reasonable force. My final clarification on the new FME provisions relates to the proposed section 40G of CPC, which specifies that FMEs involving intimate regions of the body may only be carried out by a woman, if the subject of the examination is also a woman. To this point, is the Minister able to explain how a subject's gender identity will be accounted for and respected? For example, will the new rules allow a male Police officer or forensic specialist to conduct an FME on a person who is legally male, but identifies as female and has yet to undergo gender confirmation surgery or change their registered sex officially? What will the treatment be for subjects who identify as non-binary in gender? I would be grateful if the Minister could provide some clarification on how these kinds of matters would be approached. I will now move on to the proposed SEPP. This is introduced under the new section 304B of CPC. The primary stated policy rationale for SEPP is to protect the public from specific types of dangerous offenders, namely, from those who commit serious violent offences, such as culpable homicide and attempted murder, as well as serious sexual offences, such as rape and the sexual penetration of a minor. I acknowledge that the threshold for imposing an SEPP is a very high one. Amongst other things, the SEPP regime only applies to offenders aged 21 and above at the time of the offence, and the Courts must be satisfied that it is in the interests of the protection of the public that an SEPP be imposed.”
“Secondly, how would the existence of these conditions be established by a Police officer in practice when time is of the essence and the evidence needs to be collected very quickly? Thirdly, what training will Police officers be given to enable them to decide whether a person suffering from a particular physical or mental condition is actually unable to give their consent? The new FME rules under the proposed section 40H of CPC also list the conditions under which the Police must seek consent from the alleged victim's parent, guardian, deputy or donee, if the alleged victim is personally unable to provide their own consent. The consent of such representatives is, however, not required if delays in carrying out the FME will result in the loss, contamination or degradation of the evidence and the consent cannot be obtained despite all reasonable efforts. Can the Minister clarify, what the threshold is for such reasonable efforts and how this term would be interpreted? For example, would the term be confined to physical attempts to locate the alleged victim's representative; or would it also potentially apply to a situation where the Police are unable to convince the alleged victim's representative to grant their consent? If the legislation is meant to include the latter situations as well, what are the qualitative factors that are then taken into account by the Police when they decide whether or not reasonable efforts have been made? The threshold of reasonableness, once again, comes into play for FMEs conducted on accused persons, further to the proposed new section 40I of the CPC. Here, reasonable force may be applied by authorised officers where intimate parts and invasive procedures are not involved.”
“Could the Minister provide details on the kinds of information that Police officers will be required to provide to alleged victims when seeking out their consent to carry out FMEs? Notwithstanding the requirements for the grant of express consent, if the alleged victim is unable to provide consent within a reasonable time due to a physical or mental condition and that delay results in loss, contamination or degradation of the required evidence, the Police are permitted under the new law to seek consent instead from a deputy or donee, on behalf of the alleged victim. On this point, is the Minister able to share the guidelines that are in place for Police officers to determine whether delays in the conduct of FMEs will result in the loss, degradation or contamination of the evidence concerned? Could the Minister explain how the Police will be trained to determine if delays in carrying out the FMEs will, in fact, result in the loss, degradation or contamination of the evidence? The explanatory statement to this Bill also refers to a very wide range of conditions that include dementia and learning disabilities, both of which are conditions that can be experienced very differently in terms of severity. For example, a medical diagnosis of dementia does not immediately equate to a loss of capacity. And under our Mental Capacity Act, a person must be assumed to be able to make decisions for themselves, unless it is established that they are unable to do so. On this broad point, I seek three clarifications. Firstly, can the Minister clarify more specifically the kinds of physical and mental conditions that would be caught by the proposed new section 40H?”
“Mr Deputy Speaker, I stand in support of this Bill. But I have some clarifications that I hope the Minister will be able to address. Specifically, my concerns are about the new rules for the conduct of FMEs and SEPPs. I will speak, first, on the new proposed rules on FMEs. FMEs are conducted to obtain forensic evidence which is critical for investigations, particularly those pertaining to serious sexual offences, such as rape. As MinLaw has explained in its press release of 10 January, FMEs are generally seen as an important aspect of modern evidence-gathering and there are simply no substitutes for certain types of specific forensic evidence, for example, when penile swabs need to be taken from accused persons in sexual assault cases, in order to show proof of contact. These types of evidence are also time-sensitive because they may be lost, degraded or contaminated over a short period of time. All these factors speak in favour of a robust FME regime, but there is also a need to balance these concerns with respect for personal autonomy and notions of consent. Under the proposed new section 40H of the CPC, it is, quite correctly, very clearly stated that a Police officer may not require an alleged victim to undergo an FME, unless the victim consents to the examination. My first clarification for the Minister relates to the information that is provided to alleged victims in the course of procuring their consent. In order for any kind of consent to be valid and legitimate, an individual must be given sufficient, accurate and relevant information on the actions that are to be taken and on the implications of these actions.”
“While we progress in our Smart Nation goals towards inclusivity and safety, let us not forget these two points: first, that design thinking should always be applied in a holistic and empathetic manner to honour the full lived experiences of our seniors; and secondly, in our whole-of-nation Government strategies, especially when we think about the allocation of funding and other resources, let us not forget the important role that our artists and creatives play in crafting inclusivity and safety within our digital society.”
“As Eugene described to me, his creativity is a compulsion. It is about using technology as a way of facilitating story-telling and expression, in a way that can reach out to communities in need in order to do some good. The final example I would like to refer to is that of HSBC Bank in Hong Kong, which last November, organised an art exhibition aimed at promoting public awareness on fraud prevention and online scams. Amongst others, the show featured an art piece that leveraged on face-swapping technology to show exhibition visitors how their images could be transformed into those of famous local celebrities. The point of this exhibit was to educate visitors about deepfake video call scams. In Singapore, the Government engages with popular creators on YouTube to raise awareness on scams and disseminates information through innovative mediums such as music videos. This is indeed a good step in the right direction to raise awareness amongst digital natives. But I also read with interest earlier this week that the DBS Foundation and POSB have engaged with getai performers to entertain and educate seniors on digital literacy. I applaud these steps and I hope that the Government takes note of our large arts community in Singapore and the talents that they have to offer. Creative, entertaining and empathetic storytelling can result in much better outreach on digital literacy to different segments of society, including harder to reach groups like our seniors.”
“These long waits can create huge amounts of stress for seniors whether they are alone or with caregivers and it is quite possible that access to digital art could alleviate some of that tension while familiarising our seniors with digital tools. This is a great example of how technology can be inclusive, easily accessible and applied in a way that makes sense in order to serve the real needs of our seniors. The next example I would like to talk about is the use of technology in dementia care. Artist and programmer Eugene Soh is one such person who is working in this space. Specifically, he helps patients to cope with dementia using virtual reality (VR) technology. In his Mind Palace social enterprise, Eugene and his team are able to virtually transport nursing home residents to evocative places which are familiar to them, such as their old homes or neighbourhoods or even places of interest such as Haw Par Villa and Chinatown. They are also able to incorporate family members in created VR scenes, which helps the elderly patients to trigger memories, relieve social isolation and expand their physical boundaries. But that is not all. Being mindful of the fact that wearable VR goggles may not be attractive to seniors and may come with the risk of spreading viruses, Mind Palace decided to convert entire rooms into immersive interactive environments where interaction with fitness and meditative experiences is done via motion sensors. So, to summarise, the whole experience is totally contactless and in line with what users of this service require and prefer. To date, Mind Palace has conducted hundreds of trials and built five permanent immersive rooms at various eldercare facilities. It is, again, another great example of solution-based and user-centric design thinking.”
“Singapore's Digital Readiness Blueprint emphasises the need for user-centric design, which is absolutely spot on, but we need to remember to apply this thinking in an expansive way and not just in a piece-meal fashion. We need to step into the shoes of our seniors in all the different demographics, seriously think through each of their respective lived experiences and apply our minds to how this technology can help them. This brings me to my second point, which is about how arts-related related initiatives can assist in building digital literacy, inclusivity and safety for our seniors in our digital society. Three examples come to mind, which I would like to share with you today. In 2021, the National Gallery Singapore launched a superb project called The People's Gallery. Here, through the use of augmented reality (AR) technology, the gallery transformed more than 25 HDB void decks across heartland neighbourhoods into virtual art galleries. All you had to do was point your phone camera at a QR code on a void deck wall and an artwork from the National Collection would appear before you as if it had been hung on that wall. In one magical swoop, viewers could suspend physical reality for a moment and enjoy the experience of having a beautiful piece of art appear right in front of them. They did not have to pay a single cent. All they had to do was simply turn on their phone cameras. This is technology which is easy to use and something that, to my mind, we could use just as easily in different scenarios, for example, in hospital waiting areas of geriatric clinics, where elderly folk are required to wait for lengthy periods of time.”
“There is a case to be made, I feel, for allowing seniors who wish to carry on with non-digital options to simply live out their lives as they wish in the way that they are used to. They can learn to adopt digital solutions if they want, but they should be gradual and they should do this in their own time. I acknowledge that there are many good avenues for learning, such as the Seniors Go Digital initiative, and the Government has done well here. But we must remember not to move too quickly. This idea echoes a principle that can be found in the European Union Agency for Fundamental Rights report entitled "Ensuring Access to Public Services in Digital Societies". In this report, it says that while "member states should proactively support all initiatives by opening lifelong learning opportunities to older persons of all ages... individuals should not be obliged to acquire the necessary digital skills for access to digital services." The report then goes on to state that public administrations should always provide other access channels for citizens who cannot or do not want to acquire these skills. Mr Speaker, Sir, true inclusivity is about choice and agency. Even if adaptability is required in a changing world, a positive choice needs to be made by a person to acquire new skills. His or her community then needs to provide the right environment for this learning to take place. This is, of course, not to say that we should all be Luddites who reject technological advances. In fact, there are many ways in which technology can be deployed to create inclusivity and safety for our seniors.”
“A number of bank branches have closed and self-service video teller machines have replaced human bank tellers. Medical appointments, prescription refills, health records – these are all accessible through apps such as HealthHub and Health Buddy. Shops, supermarkets and cafes have started to go cashless and smartphone apps are also used for the collection of points and allocation of discounts. If you go to a restaurant, chances are that you have to scan a QR code to access the menu and sometimes even to order and pay. And while your entire life is condensed into your tiny smartphone, there is an additional fear and worry that you will be targeted by scammers. All of these digital initiatives, while improving efficiency, do not necessarily improve overall experiences for our seniors. It is perhaps easy to say that elderly folks unfamiliar with technological developments in banking, healthcare and other sectors should simply be educated on how to improve their digital skills or seek to depend on trusted family members for help. This approach, however, ignores a few things. First, it overlooks the fact that not everyone has caregivers whom they can rely on. For some of our seniors, doing their banking or shopping in person might be the only form of social interaction that they have in a single day. Secondly, dignity and agency are imperative in ageing well. No one wants to feel like a burden or like they need re-education to just continue on with functions that they have managed independently for years. While reported figures may indicate that more seniors are engaging in digital transactions, how many of these are in fact carried out by caregivers, friends or family members on their behalf?”
“Mdm Deputy Speaker, I stand in support of this Motion and I, too, would like particularly to speak about the way our society has considered our seniors in the creation of our safe and inclusive digital society. This is a point that has been raised by many other hon Members today and I would like to add my views as well, to this discussion. According to the annual Population In Brief report, Singapore citizens aged 65 and above make up around 19% of our demographic. That figure is expected to increase and by 2030, around 24% of our citizens will be aged 65 and above. These are large numbers, and by now, I am sure everybody in the House is quite familiar with them. Our approach is for Singapore to be a "Digital First" society, and not a "Digital Only" society. Accordingly, there is a need to make sure that our non-digital options – where we choose to provide them – are effective and thoughtful ones. Again, this is not a new point at all, it has been addressed and acknowledged in this House many times in the past. I would like to add two further points to the discussion. First, in the context of building inclusivity, I would like to re-emphasise the need to think about the digital experience as a whole and not just in respect of the functionality of specific services and apps. Let us take a step back and consider for a moment – what does the larger digital environment look like right now, for a senior trying to live out their retirement years? In spite of posting record profits, banks continue to cite cost factors as the reason why they have decided to do away with physical cheques or to implement charges for their use – never mind that this is a mode of payment that generations of Singaporeans have been used to.”
“The latest Arts Plan refers to the conducting of Data Insights Clinics for arts Self-Employed Persons (SEPs) and arts organisations, and this is so that participants would be able to better understand the preferences of different audience segments. While it is important for arts workers to produce works that are actually in-demand and will sell, we must not forget the value of the avant garde and the experimental in the arts. These kinds of works push boundaries and play an important role in challenging and educating audiences on art and cultural appreciation. The Substation, for example, was and continues to be a safe space for experimental art to develop, although some might say its role is somewhat smaller now. Independent art spaces, like Comma Space, Supper House, Starch, DECK and I_S_L_A_N_D_S Peninsula – these are just some examples of many, many small arts groups around that do important work. Entities like these do the hard work of developing young talents and more offbeat art offerings. It is my hope that in our pursuit of a vibrant and sustainable creative economy, we do not forget to support – financially, if necessary – creatively rich spaces like these which sit outside of the mainstream. A vibrant creative economy is one that is not just lucrative for its workers but also one which retains its diversity, its heart and its soul. To conclude, I would like to return to Mr Tang Da Wu's somewhat biting exhortation for Singaporeans to not give money to the arts. I hope I have been able to make a case today for us to not only give money to the arts, but to work towards developing a viable and sustainable ecosystem for artists and creative producers to flourish and thrive.”
“People with talent, passion and potential will leave the industry because they are exhausted and simply cannot afford to be in it any longer. In a paper released in February 2019, Danish economics Prof Karol Jan Borowiecki analysed census data in the United States, which went back to 1850. The study compared the socioeconomic backgrounds of artists and other creative professionals and found that, for every $10,000 in additional family income, a person would be around 2% more likely to become a creative professional. So, in other words, the richer you are, the easier it is to sustain an artistic career. This is a situation we must try to avoid at all costs. Our arts producers must come from every sector of society, so that all types of subject matter and walks of life are well-represented. It, therefore, follows that artists – all artists – must be able to earn a decent living from their practices. And so, how do we get there? Well, that brings me, Mr Speaker, to my last point, which is about education for art consumers. For the creative economy to thrive, the audience must value the products created by artists. A common refrain that is heard amongst artists is why Singapore consumers will think nothing of spending thousands of dollars on designer handbags but will hesitate when it comes to spending similar amounts on works of local art. Here, education for consumers is key. I urge the Government to remember that, in addition to schools and institutions, working artists and independent art spaces also have a key role to play in educating the public about why art is necessary and about what good art is.”
“Tax policies, such as those I have just mentioned, are just a very small selection of the economic tools that we have to stimulate demand in our art market, and I hope that what I have mentioned today gives the House an idea of some of the ways that structural economic incentives can be considered to support our creative industries. I would like to urge the Government to consider these in more detail. The next aspect of the creative economy that I would like to address, Mr Speaker, is the resilience and fortitude of the people who live and work in that economy. One aspect of that resilience is the acquisition of a multidisciplinary skillset, one which enables artists to, in the words of the Arts Plan, "cross-pollinate" from within the creative economy to other adjacent industries. Sir James Dyson, for example, is an alumnus of the Royal College of Art in London and an excellent example of how an artistic background can inform pioneering achievements in other fields, such as engineering and design. This multidisciplinary approach is something that is already being embraced by UAS. The hope here is that by creating more avenues for our arts practitioners to acquire multidisciplinary skillsets, we diversify the economic opportunities and jobs available to these arts practitioners. This approach is absolutely spot on, but we should be careful to frame this narrative in a responsible way as we move forward. Many arts workers, and I count myself as one of them, we juggle portfolio careers to ensure that creative production is financially sustainable. This means taking on job after job after job, very often with little respite. The result is often emotional stress, mental burnout and, eventually, attrition.”
“ART SG, the leading international art fair for Singapore and Southeast Asia, will return in 2024 for a second edition after a very successful run this year. The point I would like to make is this: Singapore is home to excellent galleries, they exhibit to an international audience and are making sales to reputable institutions all over the world. And so, the question to be asked is this: how can we scale this to our advantage and make Singapore a world-class art trading hub? A relook of our GST policy is, perhaps, one way to start. Presently, the Government offers a 250% tax deduction for donations made to Institutions of Public Character, and these include many art charities. The deduction also extends to donations of certain types of artefacts and pieces of public art. This is extremely commendable and it is heartening that the incentive has been extended to 2026. However, I would ask the Government to consider whether more dynamic incentives could be introduced, potentially those which can have more of a direct impact on working artists and on art consumption. In France, for example, a deduction is offered to taxpayers who purchase pieces of art made by living artists, provided that the artworks remain on display to the public or in places accessible to employees. In Ireland, artists themselves can enjoy an exemption from income tax on revenue derived from artistic works which are deemed to be original, creative works and which are generally recognised as having cultural or artistic merit.”
“There are technical reasons why financial services are exempt from GST; many other jurisdictions offer this exemption as well. But I would like to highlight that in his 2012 Budget Statement, the then-Deputy Prime Minister and Minister for Finance, Mr Tharman Shanmugaratnam, introduced a GST exemption for investment-grade gold and other precious metals. He recognised that this exemption would, "facilitate the development of gold trading, which can draw on Singapore's strengths as an international financial centre and trading hub, to meet strong demand for investment-grade gold in Asia." I think what we can see is that where there are wider economic aims to be achieved, tax exemptions may be harnessed as a useful tool to grow important industries. The explanation for a GST hike next year is well-understood. But, as the examples I have raised show, where there are wider aims to be achieved, such as the health of our creative economy and the livelihood of our creative professionals, tax exemptions may well be harnessed as a useful tool to grow what Singapore believes to be important industries. The Art Basel and UBS Survey of Global Collecting in 2023 states that art market sales, globally, reached an estimated US$67.8 billion in 2022. This was their second highest ever level. In its latest art market report, Art Basel and UBS noted that while performance was mixed across Asia for sales of post-war and contemporary art, Singapore was a notable exception. In 2022, it showed double-digit growth. This growth was said to be driven by the Sotheby's sale of modern and contemporary art, its first auction in the country after a 15-year hiatus.”