If an arts-loving foreigner who lived here in the 1980s were to revisit Singapore today, he would be astonished by its increasingly vibrant artsscene. It was once labelled a cultural desert because of its dearth ofcultural and artistic activities.
Happily, this image is now behind us. On any day, there would be a variety of arts happenings on the island. Moreover, renowned foreign artistes also perform here regularly. The Republic's cherished goal to be arenaissance city now seems attainable, with growing support from government, arts patrons and public.
I am especially encouraged that the younger Singaporeans are in the forefront of this cultural fermentation, through their enthusiastic participation as audiences, organisers and artistes. This has led to the formation of more diverse arts groups and rising standards of arts appreciation.
The government has done its part by building an impressive arts infrastructure, including an ultra-modern arts centre, new museums and better exhibition and performing facilities. It also houses arts companies in converted old premises at nominal rentals.
Recently, it formulated a blueprint aimed at propelling the arts as an important marker of the spiritual life of the community, with more generous funding to match.
However, splendid edifices and a lively arts scene do not necessarily make Singapore a renaissance city. Much still needs to be done before it can join the ranks of cultured nations. First and foremost, we must continually strive to raise the standards of our art works, the creative and performing capabilities of our artistes and the efficiency of our administrative and technical support personnel.
Equally important, more young Singaporeans with brainpower and creative genius must be recruited as arts professionals. It would help if their remuneration gets closer to the benchmark of the more established professions.
Further, the low social standing of the arts people must be ameliorated. The responsibility rests primarily with the arts fraternity who must earn the public respect by demonstrating their worth as an indispensable component of a civilised society. This can be achieved with help from government and arts supporters.
Two outstanding successes of this government are in changing the public perception of the uniformed and teaching professions through imaginative and well-publicised schemes and by enlarging their roles.
It would certainly spur the artistes and their backers if the highest arts awards are conferred by the most eminent officers of the land, the President or Prime Minister, which is a common practice among the culturally advanced countries.
As the arts groups play an important role, and are a major beneficiary, in a cultured society, the following comments may be helpful to them：
1. With several exceptions, most of them are poorly-managed and lack a farsighted vision and plan for their longer term development. Partly due to low pay and limited scope for career advancement, staff turnovers are, understandably, high as many regard it as an employment of last resort. The more committed ones may run out of energy or become disillusioned because of the hectic work schedules and personal sacrifices required.
2. Production budgets are often inflated due, perhaps, to inadequate planning or poor economic sense. They can easily be pruned without compromising quality. This approach would create distrust of discerning potential sponsors, lead to higher ticket charges and make the arts less affordable.
3. Artistes should respond more objectively, and less emotionally, to valid criticisms or honest feedbacks on their performances or other creative endeavours. Worse still, by arrogantly dismissing these as uninformed opinions not worthy of their rebuttals, they would forfeit good opportunities for self-improvement and alienate their audiences. They should know that Singaporeans are now more sophisticated than a decade ago.
4. It is increasingly common for the arts companies to seek large funding for overseas performances. With some worthy exceptions, many are of dubious value which neither advance the arts here nor abroad and should be discouraged. The substantial public money spent can be better utilised for more needy purposes.
5. Too much gimmick has been disguised as art , just to be novel or to outdo each other in the name of creativity or innovation.
（The writer is a retired lawyer.）
新加坡能成為文藝復(fù)興城市嗎？
藍(lán)秉湖
如果一個(gè)喜愛藝術(shù),又曾經(jīng)在80年代在新加坡生活過的外國人,今天故地重游,一定會對這里蓬勃的藝術(shù)景象,感到驚訝。曾幾何時(shí),這里因?yàn)槿狈ξ幕退囆g(shù)活動,被稱為文化沙漠。
將落成的新加坡濱海藝術(shù)中心
這樣的形象已經(jīng)不復(fù)存在,我們應(yīng)該感到高興。現(xiàn)在,人們幾乎每天都能參與多樣的藝術(shù)活動。此外,國際知名的藝術(shù)家,也經(jīng)常受邀前來表演。政府、藝術(shù)贊助人和公眾,對藝術(shù)活動的支持與日俱增。看來,新加坡成為一個(gè)文藝復(fù)興城市的目標(biāo),并非遙不可及。
年輕的新加坡人,在前線的積極參與,不論他們是觀眾、主辦人或表演者,特別令我感到鼓舞。形形色色的藝術(shù)團(tuán)體紛紛出現(xiàn),人們的藝術(shù)鑒賞能力也日益提高。
政府已經(jīng)為藝術(shù)發(fā)展建立了可觀的基礎(chǔ)設(shè)備,包括一個(gè)超現(xiàn)代化藝術(shù)中心、新的博物館和更好的展覽和表演設(shè)施。藝術(shù)團(tuán)體只要付出象征性的租金,便能利用改建的舊建筑物為活動場所。
不久前,政府發(fā)表了一份促進(jìn)藝術(shù)發(fā)展的藍(lán)圖,它將是我們精神生活的重要指標(biāo)。政府也會更慷慨的資助藝術(shù)團(tuán)體。
但是,壯觀的建筑物和熱鬧的藝術(shù)景象,并不一定能使我們建設(shè)成一個(gè)文藝復(fù)興城市。我們還要付出許多努力,才能加入具有文化修養(yǎng)國家的行列。
首先,我們得不斷提升我們的藝術(shù)創(chuàng)作、藝術(shù)工作者的創(chuàng)意和表演水平、以及幕后行政和技術(shù)人員的效率。
另外,更多具有創(chuàng)意的年輕新加坡人,應(yīng)該成為專業(yè)藝術(shù)工作者。他們所得到的報(bào)酬,如果和其他傳統(tǒng)專業(yè)人士相近,將會對他們起著鼓勵的作用。
藝術(shù)工作愛好者目前偏低的社會地位,也必須得到改善?；旧?藝術(shù)界本身需要負(fù)起這個(gè)責(zé)任,他們需要贏取公眾的尊敬,證明藝術(shù)是一個(gè)文明社會不可或缺的重要部分。當(dāng)然,政府和藝術(shù)支持者,也可以提供有力的協(xié)助。
通過有效的制度和廣泛的宣傳,以及賦予武裝部隊(duì)人員和教師更大的角色,政府成功的改變了人們對這兩個(gè)行業(yè)的看法。這樣看來,如果全國的藝術(shù)獎項(xiàng),由國家領(lǐng)導(dǎo)人,總統(tǒng)或總理來頒發(fā),肯定能激勵藝術(shù)工作者和他們的支持者。
在一個(gè)文化氣息濃厚的社會,藝術(shù)團(tuán)體扮演重要的角色,也是主要的受惠者。在這里,我希望提出一些對它們有所幫助的意見。
一、除了少數(shù)例外的情況,一般的藝術(shù)團(tuán)體缺乏有效的管理,和長遠(yuǎn)的發(fā)展遠(yuǎn)景。員工的流動性也高,工資低和事業(yè)發(fā)展前景有限,是其中兩個(gè)原因。很多人是在沒有更好的選擇的情況下,加入這個(gè)行業(yè)。繁重的工作和個(gè)人所需作的犧牲,也能使那些立場比較堅(jiān)定的人,最終感到筋疲力盡和失望。
二、可能因?yàn)榛I備或者經(jīng)濟(jì)概念不足,制作預(yù)算往往超過實(shí)際開支。削減一些開銷并不會影響作品的素質(zhì)。過高的制作預(yù)算會使贊助商質(zhì)疑,也會因提高入門票售價(jià),減少觀眾的數(shù)目。
三、藝術(shù)表演者應(yīng)該更客觀的看待有見地的批評,而不是一味的作出情緒化反應(yīng),認(rèn)為它們是千遍一律,不值得回應(yīng)的意見。這樣的態(tài)度,會讓他們失去改進(jìn)自己的機(jī)會,也會使他們和觀眾越來越疏遠(yuǎn)。要知道,和10年前比較,新加坡人的鑒賞能力已經(jīng)大大提高了。
四、有越來越多的藝術(shù)表演團(tuán)體,要求大筆的資助到國外演出。除了特殊的例子,很多時(shí)候,它們的素質(zhì)都令人感到懷疑。我們不應(yīng)該鼓勵這樣的做法,因?yàn)檫@對促進(jìn)本地和國外的藝術(shù)事業(yè),都沒有幫助。這些公款,可以用在更逼切的用途上。
五、最后,太多的花巧被偽裝成藝術(shù),很多人假借創(chuàng)意和革新的名義,希望能夠標(biāo)新立異,出奇制勝。
Happily, this image is now behind us. On any day, there would be a variety of arts happenings on the island. Moreover, renowned foreign artistes also perform here regularly. The Republic's cherished goal to be arenaissance city now seems attainable, with growing support from government, arts patrons and public.
I am especially encouraged that the younger Singaporeans are in the forefront of this cultural fermentation, through their enthusiastic participation as audiences, organisers and artistes. This has led to the formation of more diverse arts groups and rising standards of arts appreciation.
The government has done its part by building an impressive arts infrastructure, including an ultra-modern arts centre, new museums and better exhibition and performing facilities. It also houses arts companies in converted old premises at nominal rentals.
Recently, it formulated a blueprint aimed at propelling the arts as an important marker of the spiritual life of the community, with more generous funding to match.
However, splendid edifices and a lively arts scene do not necessarily make Singapore a renaissance city. Much still needs to be done before it can join the ranks of cultured nations. First and foremost, we must continually strive to raise the standards of our art works, the creative and performing capabilities of our artistes and the efficiency of our administrative and technical support personnel.
Equally important, more young Singaporeans with brainpower and creative genius must be recruited as arts professionals. It would help if their remuneration gets closer to the benchmark of the more established professions.
Further, the low social standing of the arts people must be ameliorated. The responsibility rests primarily with the arts fraternity who must earn the public respect by demonstrating their worth as an indispensable component of a civilised society. This can be achieved with help from government and arts supporters.
Two outstanding successes of this government are in changing the public perception of the uniformed and teaching professions through imaginative and well-publicised schemes and by enlarging their roles.
It would certainly spur the artistes and their backers if the highest arts awards are conferred by the most eminent officers of the land, the President or Prime Minister, which is a common practice among the culturally advanced countries.
As the arts groups play an important role, and are a major beneficiary, in a cultured society, the following comments may be helpful to them：
1. With several exceptions, most of them are poorly-managed and lack a farsighted vision and plan for their longer term development. Partly due to low pay and limited scope for career advancement, staff turnovers are, understandably, high as many regard it as an employment of last resort. The more committed ones may run out of energy or become disillusioned because of the hectic work schedules and personal sacrifices required.
2. Production budgets are often inflated due, perhaps, to inadequate planning or poor economic sense. They can easily be pruned without compromising quality. This approach would create distrust of discerning potential sponsors, lead to higher ticket charges and make the arts less affordable.
3. Artistes should respond more objectively, and less emotionally, to valid criticisms or honest feedbacks on their performances or other creative endeavours. Worse still, by arrogantly dismissing these as uninformed opinions not worthy of their rebuttals, they would forfeit good opportunities for self-improvement and alienate their audiences. They should know that Singaporeans are now more sophisticated than a decade ago.
4. It is increasingly common for the arts companies to seek large funding for overseas performances. With some worthy exceptions, many are of dubious value which neither advance the arts here nor abroad and should be discouraged. The substantial public money spent can be better utilised for more needy purposes.
5. Too much gimmick has been disguised as art , just to be novel or to outdo each other in the name of creativity or innovation.
（The writer is a retired lawyer.）
新加坡能成為文藝復(fù)興城市嗎？
藍(lán)秉湖
如果一個(gè)喜愛藝術(shù),又曾經(jīng)在80年代在新加坡生活過的外國人,今天故地重游,一定會對這里蓬勃的藝術(shù)景象,感到驚訝。曾幾何時(shí),這里因?yàn)槿狈ξ幕退囆g(shù)活動,被稱為文化沙漠。
將落成的新加坡濱海藝術(shù)中心
這樣的形象已經(jīng)不復(fù)存在,我們應(yīng)該感到高興。現(xiàn)在,人們幾乎每天都能參與多樣的藝術(shù)活動。此外,國際知名的藝術(shù)家,也經(jīng)常受邀前來表演。政府、藝術(shù)贊助人和公眾,對藝術(shù)活動的支持與日俱增。看來,新加坡成為一個(gè)文藝復(fù)興城市的目標(biāo),并非遙不可及。
年輕的新加坡人,在前線的積極參與,不論他們是觀眾、主辦人或表演者,特別令我感到鼓舞。形形色色的藝術(shù)團(tuán)體紛紛出現(xiàn),人們的藝術(shù)鑒賞能力也日益提高。
政府已經(jīng)為藝術(shù)發(fā)展建立了可觀的基礎(chǔ)設(shè)備,包括一個(gè)超現(xiàn)代化藝術(shù)中心、新的博物館和更好的展覽和表演設(shè)施。藝術(shù)團(tuán)體只要付出象征性的租金,便能利用改建的舊建筑物為活動場所。
不久前,政府發(fā)表了一份促進(jìn)藝術(shù)發(fā)展的藍(lán)圖,它將是我們精神生活的重要指標(biāo)。政府也會更慷慨的資助藝術(shù)團(tuán)體。
但是,壯觀的建筑物和熱鬧的藝術(shù)景象,并不一定能使我們建設(shè)成一個(gè)文藝復(fù)興城市。我們還要付出許多努力,才能加入具有文化修養(yǎng)國家的行列。
首先,我們得不斷提升我們的藝術(shù)創(chuàng)作、藝術(shù)工作者的創(chuàng)意和表演水平、以及幕后行政和技術(shù)人員的效率。
另外,更多具有創(chuàng)意的年輕新加坡人,應(yīng)該成為專業(yè)藝術(shù)工作者。他們所得到的報(bào)酬,如果和其他傳統(tǒng)專業(yè)人士相近,將會對他們起著鼓勵的作用。
藝術(shù)工作愛好者目前偏低的社會地位,也必須得到改善?；旧?藝術(shù)界本身需要負(fù)起這個(gè)責(zé)任,他們需要贏取公眾的尊敬,證明藝術(shù)是一個(gè)文明社會不可或缺的重要部分。當(dāng)然,政府和藝術(shù)支持者,也可以提供有力的協(xié)助。
通過有效的制度和廣泛的宣傳,以及賦予武裝部隊(duì)人員和教師更大的角色,政府成功的改變了人們對這兩個(gè)行業(yè)的看法。這樣看來,如果全國的藝術(shù)獎項(xiàng),由國家領(lǐng)導(dǎo)人,總統(tǒng)或總理來頒發(fā),肯定能激勵藝術(shù)工作者和他們的支持者。
在一個(gè)文化氣息濃厚的社會,藝術(shù)團(tuán)體扮演重要的角色,也是主要的受惠者。在這里,我希望提出一些對它們有所幫助的意見。
一、除了少數(shù)例外的情況,一般的藝術(shù)團(tuán)體缺乏有效的管理,和長遠(yuǎn)的發(fā)展遠(yuǎn)景。員工的流動性也高,工資低和事業(yè)發(fā)展前景有限,是其中兩個(gè)原因。很多人是在沒有更好的選擇的情況下,加入這個(gè)行業(yè)。繁重的工作和個(gè)人所需作的犧牲,也能使那些立場比較堅(jiān)定的人,最終感到筋疲力盡和失望。
二、可能因?yàn)榛I備或者經(jīng)濟(jì)概念不足,制作預(yù)算往往超過實(shí)際開支。削減一些開銷并不會影響作品的素質(zhì)。過高的制作預(yù)算會使贊助商質(zhì)疑,也會因提高入門票售價(jià),減少觀眾的數(shù)目。
三、藝術(shù)表演者應(yīng)該更客觀的看待有見地的批評,而不是一味的作出情緒化反應(yīng),認(rèn)為它們是千遍一律,不值得回應(yīng)的意見。這樣的態(tài)度,會讓他們失去改進(jìn)自己的機(jī)會,也會使他們和觀眾越來越疏遠(yuǎn)。要知道,和10年前比較,新加坡人的鑒賞能力已經(jīng)大大提高了。
四、有越來越多的藝術(shù)表演團(tuán)體,要求大筆的資助到國外演出。除了特殊的例子,很多時(shí)候,它們的素質(zhì)都令人感到懷疑。我們不應(yīng)該鼓勵這樣的做法,因?yàn)檫@對促進(jìn)本地和國外的藝術(shù)事業(yè),都沒有幫助。這些公款,可以用在更逼切的用途上。
五、最后,太多的花巧被偽裝成藝術(shù),很多人假借創(chuàng)意和革新的名義,希望能夠標(biāo)新立異,出奇制勝。