Curtain Call: A Final Bow for the Traditional Arts

curtain call:a final bow for the traditional arts______________________CAROLYN KHEWCHEN SHANSHANVALERIE KOH

order of content____________

07 Time ticking away for traditional artsOVERVIEW29 An infographicORIgINS Of tRAdItIONAL ARt fORmS31 Keeping up with the timesmOdERNISAtION43 More arts groups to benefit from new funding schemespOLICY CHANgE53 YOuNg pERfORmERS

01 EdItORIAL

Meet the next generation of traditional artists

CuRtAIN CALL : A fINAL bOW fOR tHE tRAdItIONAL ARtS

first published in Singapore in march 2013Copyright 2013 Carolyn Khew, Chen Shanshan & Valerie Kohuncredited photos by Valerie KohCover image by flickr user carinasuyin, used under a Creative Commons Attribution Licence

A final-year journalism project for the Wee Kim Wee School of Communication and Information, Nanyang Technological University

All rights reserved. No part of these pages, either text or images, may be reproduced, stored in a retrieval system or transmitted in any form or any means, electronic, mechanical, photocopied, recorded or otherwise, without prior permission of the copyright owners.

editorial______________________

01

the most popular art forms among young people were popular, rock and indie music, and street dance. In contrast, youth attendance for traditional art shows barely registered.

These results come as no surprise. Given the vast number of entertainment options available these days, traditional art shows simply cannot compete for young peoples attention.

But it was not always like this. Decades ago, when colour television was still a novelty, traditional art shows such as street theatre reigned supreme. Roving performers would set up makeshift stages in a street corner. From Chinese string puppetry to bangsawan (Malay opera) shows, families would turn up in droves to watch them.

Compare this to a Chinese string puppetry performance staged by the Sin Hoe Ping Jia Li Puppet Troupe in a temple last November. The audience was almost non-existent, save for a few curious onlookers.

Faced with waning public interest and an ageing talent pool, traditional arts groups are gradually being edged out of the local arts community. They are fighting a losing battle against changing public tastes in present-day Singapore.

In light of this, some arts groups believe that adaptation is the solution to keeping up with the times. Dance company Variasi Performing Arts holds zapin hip-hop classes, a cross between the fast-paced traditional Malay dance zapin and Western hip-hop. It is a formula that has worked for them, said founder Hamzah Zulkifli.

Still, walking the line between the traditional and contemporary arts has proven to be tricky and has left the traditional arts community deeply polarised.

Older artists are generally against fusing the old and the new, fearing the bastardisation of traditional art forms.

EDITORIAL | 03

EVERy day, thousands pass by the Telok Ayer Performing Arts Centre in downtown Tanjong Pagar, en route to their offices or the nearby Amoy Street Food Centre, with nary a glance.

The modest, four-storey arts space strikes a sharp contrast against the dreary concrete jungle with its colourful murals of dancers in flight and the painted faces of Chinese opera singers. But not many passersby have cared to find out what goes on behind its walls. And very soon, they will never have the chance to.

The iconic arts centre, home to numerous traditional and contemporary arts groups over the last 27 years, closes for good in June when its lease expires. Most tenants have already vacated its premises. The grand dame of the arts community the first property acquired under the National Arts Councils Arts Housing Scheme in 1985 is to be redeveloped by the Urban Development Authority.

Like the centre, many traditional arts groups are fading away silently, out of sight of most Singaporeans. These are hard times for them.

Ask the average teenager and chances are, he or she has never watched a wayang kulit performance or heard of nanyin music. A 2011 National Population Survey on the Arts found that

02 | EDITORIAL

EDITORIAL | 05

On the other hand, proponents of modernity believe it is the way forward. They argue that guarding the integrity of an art form rigidly may backfire and threaten its very existence.

It would be easy to point fingers at the authorities or groups themselves for the current predicament of the traditional arts but that would only divide the arts community further. Preserving the traditions, culture and heritage of Singapore requires a collaborative effort between all parties.

The onus lies with the youths themselves too. It is ironic that they possess a burning curiosity for all things exotic, from the contemporary arts to foreign cultures, but are far removed from their own cultures and customs. Perhaps now would be a good time for them to apply some of that openness to traditional arts forms, and to rediscover their cultural identities.

Chen Shanshan

04 | EDITORIAL

time ticking away for traditional arts______________________

The heyday of the local traditional arts scene has long passed. despite the National Arts Councils five-year plan to revive the languishing industry, arts observers and groups feel that more needs to be done to stave off its collapse.

Carolyn Khew, Chen Shanshan and Valerie Koh take a look at the struggles of these arts groups and their efforts to reclaim their place in society.

07

TImE TIckIng AwAy fOR TRADITIOnAL ARTs | 09

Back in the 1980s, his troupe used to perform to a thousand-strong crowd. And at the height of their popularity, they staged as many as two shows daily for 15 consecutive days. Today, the boisterous crowds are long gone and his troupe struggles to attract an audience.

Like Mr yangs troupe, many traditional arts groups find their existence threatened by the crises of attracting an audience and finding a successor. Other top concerns include a space crunch in arts housing and limited funds. As traditional arts become less visible over the years, fewer Singaporeans are aware of the problems they face.

Mr yang, now 63, said that he does not see much of a future for the business that has been in his family for three generations. Two of the major problems he faces are drawing a crowd and finding new talents.

young people dont understand the art form or the dialect and theyre not interested in it. Its just a matter of time before we lose it, he said.

Over the last few decades, the traditional arts have been neglected by artsgoers as the contemporary arts scene developed rapidly over the last 15 years. Given more entertainment choices, audiences began to favour novel and modern productions.

These lifelike string marionettes are handmade and painted by

puppeteer Yang Lai Hao, 63. Each represents a character from Chinese classics such as Journey To The West

or Wu Song Fights The Tiger.

Gone are the large crowds that used to throng Chinese string puppetry shows along the streets or in temples. These days, the traditional art has fallen behind trendier art forms and is losing its audience. Sin Hoe Ping Jia Li Puppet Troupe is one of Singapores last few puppetry groups. Photo: Cheng Pei Yun

08 | TImE TIckIng AwAy fOR TRADITIOnAL ARTs

A LONE, raspy voice cuts through the stale air and belts out a Hokkien song. It is a balmy weekday afternoon at a Choa Chu Kang temple and an elderly puppeteer from the Sin Hoe Ping Jia Li Puppet Troupe is performing on a makeshift stage, elevated half a metre off the ground.

The stage is conveniently divided into two halves: upstage and backstage. In between, a wooden backdrop, painted to resemble an olden day Chinese courtyard house, becomes part of the set for the puppet show. Behind the backdrop, the puppeteer animates a metre-high marionette. With a casual roll of her wrist, the puppet nods. And with another wave of her arm, it bows.

Offstage, third-generation troupe owner yang Lai Hao monitors the performance. Apart from a few curious passersby who were attracted by the brassy Hokkien tunes, he seems to be the only other audience member. It was not always like that, he said.


__________________ageing audiences

This lack of a structured learning environment means that budding traditional artists have to learn the ropes from industry veterans, somewhat like an apprenticeship. And while this arrangement used to work in the past, time is no longer on the side of these veterans. Age is catching up and as they retire from the scene without successors, their trade becomes endangered.

Artists also believe that the disappearance of these art forms will lead to a larger culture drain in Singapore. Cantonese opera singer Chan Wai Sim, 65, said: Its really about the preservation of a culture. Although its so old, theres still a place for it because its our heritage.

The value of traditional arts was also discussed in Parliament this month. Acting Minister for Culture, Community and youth Lawrence Wong said: They provide a link to our past, and to our ancestral roots; at the same time, because the traditional arts in Singapore have evolved with a certain local flavour and character, they also contribute to our distinctive Singapore culture.

But as public interest wanes and audience numbers dwindle, more arts groups are finding it difficult for their art forms to survive past the current generation of Singaporeans.

A survey on artgoers in 2011 showed that traditional arts audiences were predominantly senior citizens.

Traditional theatre, ethnic music and ethnic dance emerged as the most popular art forms among elderly artgoers in the National Population Survey on the Arts, commissioned by the National Arts Council (NAC). Of the 45 surveyed senior citizens who attended arts and cultural activities that year, about 36 per cent attended traditional theatre performances, 20 per cent attended traditional ethnic music shows and 11 per cent attended folk, traditional or ethnic dance shows. Moreover, their attendance rates for traditional art shows matched or even doubled the national average.


Most, especially those in the younger generation, are apathetic and regard the traditional arts as outdated antiques, said artists. Experts peg these attitudes to the perceived lack of relevance of these art forms to the lives of Singaporeans today.

Many traditional art forms are highly abstract in terms of performance style. Those who are not regularly exposed to it may enjoy it briefly for its novelty, said Arts Nominated Member of Parliament Janice Koh. But they could feel alienated because they no longer understand the dialect, or the art form itself.

youths nowadays are estranged from their mother tongues and dialect groups, said traditional arts researcher Wang Tian yu who works with the Traditional Southern Fujian Music Society and runs his own arts education company. And because of that, they are unable to understand or relate to art forms performed in those languages.

In addition, Ms Audrey Wong, Lasalle College of the Arts programme leader and former Arts Nominated MP from 2009 to 2011, said that tech-savvy Singaporeans tend to be more attracted by productions that incorporate technology. In 2011, experimental theatre group Cake Theatrical Productions staged Decimal Points 4.44, a multimedia performance that made use of extensive video projections. The show was very well-received, selling out its two-day run at The Substation.

The current environment is not conducive for the traditional arts to thrive, said Dr Chua Soo Pong, senior consultant at SIM University and the founding director of the Chinese Opera Institute, a non-profit group promoting opera in Singapore.

Although there are contemporary theatre and dance programmes in arts schools such as the School of the Arts, the same cannot be said for Chinese string puppetry or classical Indian dances, stylised dances typically performed in temples or courts.


groups are non-profit organisations that do not promise competitive salaries.

Larger arts groups such as Indian dance group Bhaskars Arts Academy run in-house training programmes to ensure a steady supply of homegrown talent. Students undergo about 10 to 12 years of training under the groups arts school, Nrityalaya Aesthetics Society. The school trains its students in Bharatanatyam, a choreographed dance which includes sculpturesque poses and movements. Upon graduation, they are auditioned for the groups main dance company.

But smaller groups that lack the resources to set up such training programmes are the ones that flounder when their leaders age. Some have turned to recruiting foreign talent to plug the gap but with varying levels of success.

Nanyin music group Siong Leng Musical Association first started hiring musicians from China in 2000. These foreign musicians were skilled in playing the musical instruments and singing the Hokkien tunes that embody nanyin, a style of traditional Chinese music that originated from Fujian province. But the association quickly cancelled the arrangement after receiving flak for the use of foreign talent.

On the other hand, Alapana Arts, a classical Indian music and dance group, has achieved greater success with foreign instructors. The group specialises in Carnatic music, a type of predominantly vocal music from South India, and Bharatanatyam. Most of its teachers are hired from India.

Artistic director V Raghuraman, an Indian national who obtained Singaporean citizenship in 1999, believes that his teachers expertise over their Singaporean counterparts will maintain professional standards and preserve the authenticity of the art form. A fully qualified instructor requires at least 800 to 1,000 hours of training over a span of eight years, he said, a dedication to the craft that most Singaporeans do not possess.


2011 National Population Survey on the Arts

____________________finding a successor

Although the figures indicated an overall growth in audience numbers for traditional theatre performances, some artists are sceptical of the rosy picture painted. Madam Ng Lee Lee, 64, opera enthusiast and group leader of the Kolam Ayer Community Club Chinese Cultural Group said: The crowd is diminishing. Its so hard to persuade the younger ones to come.

With a rapidly ageing talent pool and disinterested youth, numerous arts groups are scrambling to find suitable candidates to succeed its current cohorts.

However, few have been successful in their search. Artists acknowledge that there is a lack of incentives to attract young people to join the profession. For instance, it often takes years of training for a new recruit to attain the minimum level of expertise required to lead an arts group. Moreover, many


Lasalle College of the Arts programme leader and former Arts Nominated Member of Parliament Audrey Wong, 45, grew up around the traditional arts: her parents founded the local opera company The Chinese Theatre Circle. One of the challenges they face is the lack of

talented administrators to hand over to. I told them to be very realistic, she said. And they do say if Chinese opera dies in Singapore, thats it. They dont really see a future for it.


____________________

You need to have the leadership skills, a certain degree of administrative skills to keep the company going, and

also be a good enough practitioner of the form.

Ms Audrey Wong, Lasalle College of the Arts programme leader

___________________

Although the dance group is facing a shortage of qualified teachers, he insists on upholding high standards for teaching candidates.

Substandard work taught will spoil the next generation, said Mr Raghuraman, 58, who has not hired any local Carnatic music teachers in the past five years. The pedigree (must be) intact.

Beyond having the passion for and expertise in the art form, potential leaders should also have certain administrative skills. Experts identified a lack of administrative know-how as a weak spot of local arts groups.

Ms Audrey Wong, 44, spoke of the difficulties her mother, acclaimed Cantonese opera doyenne Joanna Wong, faced in finding a successor.

We need activists, people who have the passion and understand that it is an art form that needs (a) guardian, added Mr Noor Azhar Mohamed, artistic director of Malay opera troupe Sri Anggerek Bangsawan. And at the end of the day, (we need) someone who has that little bit of time to spare rather than doing it for money.

________________financial woes Avid dancer Ms Seema Harikumar, 28, decided to make her hobby a full-time affair last March. Prior to that, she had been working as a project manager at a multinational company.


____________________

Although we are a profit-driven company, our approach is very different. Weve made culture our business.

Mr Alvin Oon, music director of The Main Wayang Company

___________________

Not all groups opt for public funding though. Some, like Peranakan arts and culture group The Main Wayang Company, choose to be self-reliant as the application for grants is a highly competitive process, said its music director Alvin Oon, 45.

His company stages musicals and plays, and has even released four music albums comprising original compositions and old Peranakan favourites. Under the New Grants Framework, the NAC also announced that for-profit organizations will now be able to qualify for more grants in recognition of their contributions to the development of arts and culture. However this new development is unlikely to sway some commercial companies like Choys Brothers Opera Troupe. Although the group had to forgo staging its annual performance last year because of insufficient funds, its artistic director Choy yien Chow, does not believe in applying for public funding. There are many requirements for funding. Id rather do without it, said Mr Choy, 66. At the other end of the spectrum, non-profit groups are largely reliant on the NAC and private sponsors for funding.

Ding yi Music Company, for example, receives about 70 per cent of its funding from the Government and private companies. Despite this, the groups general manager Dedric Wong, 27, admitted that it is still a struggle for them to be in the black.


Having learnt dance at the age of nine, she had always wanted a career in classical Indian dance, even if that meant taking home a smaller paycheck. And so she joined Apsaras Arts as a professional dancer last year. She is skilled in several classical Indian dances, including Bharatanatyam. I took a 50 per cent pay cut and had to be more prudent with my spending, said the political science graduate from the National University of Singapore.

Such sacrifices are commonplace among professionals in the traditional arts, an industry where artists do not enjoy as competitive wages as in many other fields.

In 2011, the arts council announced a funding boost of $23 million for traditional arts groups under its five-year National Traditional Arts Plan. Last year, 60 groups benefitted from this initiative.

Just last month, the New Grants Framework was launched, under which the grant cap for Major Grant recipients was raised from 30 to 50 per cent. The grant, which is one of the more generous ones under the arts council, was also extended to three years, compared to one- or two-year schemes previously. The change gives established arts groups greater financial stability and the ability to plan for long-term projects, said Minister Wong in parliament earlier this month.

Although the new framework means greater financial support for traditional arts groups, it is not always certain that groups will get the funds if they apply for them.

Moreover, for some groups, production costs are simply too high. Sri Anggerek Bangsawan, for example, needs at least $100,000 to stage each Malay opera performance. Bangsawan performances are known to be highly elaborate with hand-painted backdrops and stage actors donning ornate headpieces.


The Telok Ayer Performing Arts Centre was one of the first properties set aside for arts groups under the Arts Housing Scheme. News of the centres impending closure broke last year and since then, its tenants have been steadily moving out. It is not known exactly what will happen to the site after its lease expires in June but the Urban Redevelopment Authority has plans for redevelopment. For the past decade, the centre had been home to Cantonese opera group Chinese Cultural Arts Centre. Naturally, it holds great sentimental value for its group members. Weve been here ever since we started, said chairman Gary Kong.

Even though the group has secured a 37 sq m classroom at Goodman Arts Centre, they will have to relocate again in about a years time when the lease is up. Mr Kong said that their application for a place at the newly opened Aliwal Arts Centre at Arab Street was unsuccessful, even though tenants displaced by the Telok Ayer Performing Arts Centre closure were given priority.

His current lease with the Goodman Arts Centre can only be extended for a maximum period of six months. Future plans are uncertain but he does not rule out pulling down the shutters if his group cannot find a suitable place.

The Government is trying to support us but its (still) hard, said Mr Kong, who is in his 50s.

___________________________Paradigm shift in culture

Despite his passion for the arts, he cannot afford to give up his day job to become a full-time artist with the group.

Mr Kong, who works as the managing director of a Japanese paper company, knows that Cantonese opera belongs to a sunset industry.

18 | TImE TIckIng AwAy fOR TRADITIOnAL ARTs____________________

Even if we sell 100 per cent of our tickets, we might not earn money. Production cost is just too high.

I think no music company can live off concert sales alone.

Mr Dedric Wong, Ding Yi Music Company general manager

___________________

______________sPace crunch To help traditional arts groups shoulder their financial burdens, the NAC has also provided rental grants for arts housing. Under the Framework for Arts Spaces, tenants pay subsidised rental rates for facilities like dance studios and project studios used for short-term projects. At Goodman Arts Centre, the monthly rent of a project studio ranges from $390 to $780 depending on size. The framework was announced in 2010 after the NAC recognised that the previous Arts Housing Scheme was inadequate in meeting the needs of an increasing number of arts groups. The arts council reported that 520 new arts companies and societies were formed from 2000 to 2009.

The Telok Ayer Perfoming Arts Centre closed this month. While some tenants have been allocated new studios at Aliwal Arts Centre, others have not have secured long-term housing. Cantonese opera group Chinese Cultural Arts Centre was given a one-year rental space at Goodman Arts Centre and will have to move out soon after.


These findings tally with what industry veterans have said of traditional arts groups losing younger audiences to more contemporary art forms. For bangsawan performer Mr Azhar, the current situation has created an uphill task for anyone for wishes to bring back the traditional Malay opera as a form of entertainment. It is also the reason why the troupe is not in a hurry to hold performances, said the 36-year-old.

But right now, our mission is to preserve the art form, he added. There just needs to be outreach initiatives.

Other artists feel that the traditional arts simply cannot compete with contemporary art forms for audiences because of rapidly changing public tastes.

The world has moved on beyond them because of globalisation, said Mr Terence Tan, director of last years Asean Puppetry Festival held in Singapore, which featured a mix of traditional and contemporary puppetry shows from Southeast Asia.

Freelance musician Titus Ng, 26, agreed that youths do not find the traditional arts relevant to their lives anymore. To be honest, I think its very pass. I feel that people are doing it just for the sake of keeping it alive.

Nominated MP Koh believes that changing cultural practices, among other factors, have diminished the role of the traditional arts as a form of entertainment. Before looking at efforts to help traditional arts groups make a comeback, there needs to be a re-examination of some fundamental questions, she said.

We first need to ask ourselves why we should be preserving some of these art forms, she said. Is it about looking back to a lost cultural identity? If its about preserving our heritage and remembering our cultural past, then we should acknowledge that most young Singaporeans today may not have a connection to these art forms.


He said that the dilution of ethnic cultures could be a contributing factor to the decline of the scene: Its hard in Singapore because we have many cultures and languages. We are Westernised.

Growing up in the Chinatown in the 1960s and 1970s, it was easy for him to fall in love with the traditional arts. Local and overseas opera troupes often performed in the neighbourhood and he would accompany his mother to their shows.

I would always hear percussion music (from the performances). I would look at the costumes, sequined and shiny, said Mr Kong, recalling his younger days. I was dreaming, If I could be on stage, it would be nice.

But these days, young people are hardly exposed to the traditional arts, unlike Mr Kong. With the influx of Western influences and new entertainment options introduced to Singaporeans over the previous decades, more young Singaporeans are spoilt for choice and choose to shun the traditional arts.

Miss Cheryl Seet, who has experience in jazz, contemporary and Chinese dance, acknowledged the effect Western popular culture has had in shaping her peers attitudes towards the traditional arts. We are very used to (Western dance shows such as) So you Think you Can Dance. you never see them do traditional dances. It seeps into us that (Western dance) is so cool, said the 18-year-old who is waiting to enter university.

Despite learning Chinese dance in her primary and secondary schools, she still prefers jazz and contemporary dance for their freedom of expression.

According to the 2011 National Population Survey on the Arts, the most popular art forms among youths were variety shows, popular, rock and indie music and street dance. In comparison, youth attendance of traditional theatre and traditional ethnic dance shows ranked below the national average. Only traditional ethnic music attendance measured at 11 per cent, just one per cent above the average.


On the other hand, Siong Leng Musical Associations school outreach programmes promoting nanyin music were so poorly received that they were axed. Vice-chairman Wang Pheck Geok, 47, said that their school assembly performances were not effective as the students could not appreciate the mellow traditional Chinese music. It can be discouraging to see students not responding well and they dont really learn anything, she added.

Such traditional arts performances are not unfamiliar to secondary school student Chen yuan Xuan. The 13-year-old has seen lion dance performances in his primary and secondary schools during festive occasions like Chinese New year.

It can get a bit repetitive. Every year its the same thing. Were not really engaged in the performances. Were just watching, said the Secondary 2 student who is studying at Hwa Chong Institution.

Community outreach programmes have not fared much better. A nanyin music exhibition held at the Esplanade between January and this month had a lacklustre crowd turnout, said organisers. Although they received more than 200 inquiries from members of the public, the majority came from senior citizens.

There are also artists like Mr Kong of the Chinese Cultural Arts Centre who have been approached by the Peoples Association to give a three-hour crash course in Cantonese opera.

Although Mr Kong thinks that the programme is worth a shot, with the potential to attract families comprising both the young and old, he remains largely sceptical of the instant results promised. Its just marketing to attract people, he said.

Experts reckon that in order for outreach programmes to be successful, artists have to find ways to make their art forms more relatable, instead of merely exhibiting the art form.

22 | TImE TIckIng AwAy fOR TRADITIOnAL ARTs_____________________changing attitudes towards traditional arts

Arts groups agree that in order for the industry to survive, they need to change the mindsets of the next generation of Singaporeans. Many have amped up outreach efforts to schools and local communities to engage new audiences but with mixed results.

One of the groups that frequents the school circuit is Malay dance group Era Dance Theatre. It runs arts education programmes promoting Malay dance in primary schools, secondary schools and Institutes of Technical Education.

Although students are introduced to traditional Malay singing and live music, choreographer Osman Abdul Hamid said that, more importantly, they are taught Malay values through the dance steps as well. For example, students are taught to bow in respect when they walk past their elders.

We try to balance dance and the interests of the students so we dont go too far off from what they want, said Mr Osman. Era Dance plans to expand their arts education programmes to 10 schools by this year.

Puppeteers from Wayang Ajen held an interactive workshop promoting Indonesian wayang golek, a style of rod puppetry, during the Asean Puppetry Festival last year. Photo: Olivia Ng Li Wen


____________________

Whereas his mum (had) watched Chinese opera as a kid, so at least she knows the form or at least the stories. But her kid, it was as if he was watching

something by an alien species.

Ms Audrey Wong, Lasalle College of the Arts programme leader

___________________

Ms Wong added that audience development has to be consistent and sustained work that comes from different parties. To create a more inclusive arts culture, she said that there should be follow-up programmes to accompany performances.

She recounted the first encounter her friends son had with Chinese opera at a primary school assembly a few years ago.

He came back and told his mom, you know, mummy, we had this really strange thing in school today. They brought in this Chinese opera group and they did this performance. I didnt understand a thing. It was so strange. This old man was just singing there.

_____________________________redefining traditional arts for a new audience

Artists and industry players agree that a fundamental change is in order if the traditional arts are to reassert their presence in the local arts scene.

Said Mr Wong in an email interview: Everyone has a part to play in the preservation of our heritage including the traditional arts. This includes support from audiences, volunteers and sponsors . The Government will do its part in areas such as infrastructure and financial grants, to provide a conducive environment for the development of traditional arts.


One way suggested by Nominated MP Koh was to promote the art forms through storytelling. Likening the softer approach to the way stories are used to teach Chinese in schools, she said: Our connection to the traditional arts can be re-established through the stories they tell. (Legends and epics) are wonderfully entertaining tales that could capture the imagination of children and young people.

youths here say that they might be keener on the traditional arts if groups and schools provided more opportunities for participation.

Avid artgoer Edlyn Ng, 23, suggested that schools should look at creating opportunities for students to learn the art form rather than just having a one-off performance.

There could be a whole week of extra-curricular activities for students to participate in workshops and field trips to learn more about a specific form of traditional arts (before having) a performance at the end.

This way, the students would be a more discerning audience of the traditional arts performances, said Ms Ng, who works as a community outreach executive at a local theatre company and watches arts performances at least once a fortnight.

Similarly, yuan Xuan feels that he would be more interested in the traditional arts if given opportunities to learn it. He recalled the example of a Chinese cultural activities camp he attended when he was 10. Instead of simply watching performances, he managed to learn the rudiments of the lion dance a traditional Chinese dance in which performers mimic the movements of a lion during the week-long camp.

The art form is very technically demanding. We only learnt the basics of it and we didnt get to do the stunts but I thought it was really cool, he said.

TImE TIckIng AwAy fOR TRADITIOnAL ARTs | 2726 | TImE TIckIng AwAy fOR TRADITIOnAL ARTs

Nominated MP Koh feels that there is a need to take a step back and re-examine the purpose of traditional arts today in order to move beyond the cosmetic approaches of preserving the art form for its own sake.

Our arts agencies will have to work closely with traditional arts groups to come up with ways to reinvent as well as renew themselves. The artists may be highly skilled in their craft, but may not necessarily have the know-how to market their work to new audiences, or make their art financially sustainable, she said.

Although Ms Wong supports the preservation efforts by the arts community, she also recognises the very real possibility that traditional arts may well vanish from Singapore one day.

Her 73-year-old mother, Joanna Wong of the Chinese Theatre Circle, marked her swansong with a final full-length performance in January. But even as she enters semi-retirement, as reported in the media, she has not been able to find a successor for the group she co-founded with her husband in 1981, said her daughter.

I told my parents to be very realistic, to think of an exit strategy. And they do say if Chinese opera dies in Singapore, thats it. They dont really see a future for it, added the younger Ms Wong. I dont like to say you feel more rooted if you know your traditions because thats a cliche and its not necessarily true, she said. But it is a part of our history. Im very reluctant to cut myself off from this history. Its a real pity if it disappears. Its like (if) we all stop eating rice one day.

CHINESE STRING PUPPETRY

String puppetry is the oldest known form of puppetry in China and dates back to the Song dynasty as a form of entertainment for noblemen.

Puppeteers wield eight to 12-inch wooden handcrafted puppets, fi tted with eight or more strings, and belt out tunes in dialect. Stories performed include classic Chinese legends and novels such as Journey to The West. The shows are performed on a makeshift stage, adorned with tiny props and a painted backdrop, on the streets or in temples during religious ceremonies and festive celebrations.

Sin Hoe ping puppetry troupe

history

style

local groups

NANYIN, CHINESE CLASSICAL MUSIC

This ancient Chinese music originated from the Han dynasty and was fi rst played in palaces. It later ourished in Fujian province as its name, translated as music of the South, suggests.

Nanyin uses a unique notation system and music scores. the distinctly slow and melodious songs are played on string, wind and percussion instruments, as well as the dongxiao, a six-hole bamboo ute, and the sibao, a set of hand-held bamboo pieces used only in this genre of music.

Siong Leng musical Association, traditional Southern Fujian Music Society

history

style

local groups

origins of traditional art forms________________________

29

BANGSAWAN, MALAY OPERA

bangsawan is believed to have originated from Penang around the 1870s. Although the Malay opera started out as a form of entertainment for wealthier members of society, it eventually opened up to the masses as a form of common theatre.

A typical performance consists of acting, dancing and singing accompanied by utes, percussion and string instruments. popular genres include comedy, tragedy and folklore. Traditional performances feature hand-painted backdrops, ornate headpieces and extra turns where the audience is entertained by dance, songs or comedy skits while the next scene is set up.

Sri Warisan, Sri Anggerek bangsawan

history

style

local groups

BHARATANATYAM, CLASSICAL INDIAN DANCE

bharatanatyam originated more than 2,000 years ago in South India and is one of most popular Indian dance forms today, performed by both men and women. Its name refers to music, expression and rhythm, and it is also known as the dance of fi re.

dancers typically wear leather or rope anklets called gajjalu. One can tell a dancers skill from the ringing of the copper bells attached to the anklet. A skilful dancer with greater control over his or her movements would be able to ring the bells softly.

Alapana Arts, Apsaras Arts, bhaskars Arts Academy

history

style

local groups

WAYANG KULIT, INDONESIAN SHADOW PUPPETRY

Wayang kulit, one of the oldest forms of storytelling from Central Java, is the art of manipulating light and shadow to tell stories.

the dalang, typically a male puppet master, manipulates the puppets and projects their silhouettes onto a blank canvas screen by the light of an oil lamp. The two-dimensional perforated puppets are crafted from buffalo or goat hide and mounted on wooden sticks. Accompanied by an orchestra, the dalang handles multiple puppets at the same time and has to modulate his voice to suit the different characters.

Sri Warisan Som Said, Ethnic Shadows

history

style

local groups

keePing uP with the times______________________

Local traditional artists are modernising and playing up the entertainment factor to bring in younger crowds. Supporters and critics weigh in on how these changes will affect the arts scene.

31

kEEpIng up wITh ThE TImEs | 33

____________________

Fusion dance has been going on and its here to stay.

Ms Marz Johar Peck, YF Performing Dance Troupe event coordinator

___________________

culture were to live only in the museum, it would just die a natural death.

Like Mr Oon, many artists believe fusing the old and the new is the way forward in appealing to a modern audience that finds the traditional arts boring and staid. To make their art forms more palatable to a wider audience, artists have resorted to embellishing their performances with contemporary elements or playing up the more spectacular aspects of their repertoire.

Today, even the lion dance, known for its energetic movements and daredevil stunts, is no longer exciting enough for spectators, said Ms Marz Johar Peck, event coordinator of yF Performing Dance Troupe. In the traditional dance, a two-man team dons a lion costume and dances to the beat of drums, cymbals and gongs. It has its roots in Chinese culture and is often performed on auspicious occasions such as Chinese New year. Besides this, Ms Marzs troupe also stages Chinese acrobatic performances. Although the lion dance is still the most popular traditional arts performance among her corporate clients, there have been calls to give it a modern spin. Since a few years ago, she has noticed an increasing number of requests to inject hip-hop dance moves into the groups traditional lion dance routines.

But Ms Marz, 46, prefers to retain the authenticity of traditional art forms and hence turns down such requests. Even so, she recognises that the industry is gearing towards the trend of fusion performances.

32 | kEEpIng up wITh ThE TImEs

CLAD in colourful batik print shirts and black trousers, singers Alvin Oon, Tony Quek and Damien Lim take the stage during a Peranakan-themed musical. An upbeat folk song rises to a crescendo as the three Babas pump up the crowd by clapping their hands and grooving to the beat. It appears to be a typical Peranakan tune, until Mr Oon and Mr Lim launch into an English rap verse, complementing Mr Queks vocal in Malay.

It may seem unconventional but here at The Main Wayang Company, Peranakan music is given a facelift as pantuns or Malay poetry are fused with rap rhymes and hip-hop beats. It also jazzes up its repertoire with rock and roll music.

Mr Oon, the groups music director, finds that modernising Peranakan entertainment is a more effective way of reaching out to a wider audience. His company has been doing so since it was founded in 2004. We focus on making culture relevant to todays society and the young, said the 45-year-old. If

The Main Wayang Company, a Peranakan arts and culture enterprise, stages Peranakan wedding shows upon request at school performances. Music director Alvin Oon, 45, said: We focus on making culture relevant to todays society. Photo: The Main Wayang Company


____________________

We are quite proud to say that we are traditionalists.

Mr Noor Azhar Mohamed, Sri Anggerek Bangsawan artistic director

___________________

despite waning popularity is Sri Anggerek Bangsawan. Its late founder believed strongly in maintaining the essence of a Malay opera performance.

Said to be the last bangsawan troupe here, the group still retains the use of the extra-turn, a unique feature of bangsawan performances that usually last two to three hours. The extra-turn takes place between scenes. Unlike typical intermissions in contemporary theatre, artists sing, dance or even perform comedy skits to entertain the audience while the backstage crew changes the set. These performance snippets are unrelated to the show.`

Technology could easily replace the need for the extra-turn but the group continues to incorporate them to make their bangsawan shows as authentic as possible, said Mr Azhar, 36. Despite their best efforts, not even such a purist group can completely avoid change. In the past, all the backdrops in their performances were hand-painted but of late, the group has used projections instead.

you cant entirely ignore technology, he said. But certain elements have to be kept to ensure the authenticity of bangsawan.

34 | kEEpIng up wITh ThE TImEs

____________________________inevitable even for Purists

____________________________aPPealing to young artists

For the founder of Variasi Performing Arts, Mr Hamzah Zulfiki, 30, modernising is also a means to attract young talent.

The Malay dance, drama and music group, set up when Mr Hamzah was just 18, actively targets youths through their outreach programmes like drama workshops and arts camps. Currently, over half of their active members are between the ages of 14 and 21.

The 60-strong group mainly performs zapin, a traditional Malay dance popular with the youths for its fast-paced movements. To further appeal to the younger crowd, the group adds hip-hop steps into their dance routines. The young think of traditional arts as very old-school. you need to follow their needs in order to capture their interests, said Mr Hamzah.

Nanyang Technological University undergraduate Muhamad Nur Azhar Noordin feels that including modern elements may not be a bad idea. The 22-year-old bioengineering student, who was upfront about his disinterest in the traditional arts, said that fusion performances would pique his curiosity towards the art form.

Its new. Its something that has never been done before and obviously, Id want to explore and see what these are. If its cool, perhaps Ill pick it up, said Mr Azhar.

Modernising may be a way to win over the younger crowd but some traditional arts groups are more concerned with preserving the integrity of their art form.

An example of a group that has kept changes to a minimum


____________________

We are not bastardising the culture. We are making it more relevant.

Mr Alvin Oon, The Main Wayang Company music director

___________________

____________________

Theres no comparison with the weight of tradition, the exquisite movements and the grandeur. When you

have fusion, youll forget the traditions. Its a mess.

Dr Chua Soo Pong, traditional arts researcher

___________________

Dr Chua is also a senior consultant at SIM University. Prior to joining the university, he was the founding director of the non-profit Chinese Opera Institute from 1995 to 2010.

The Main Wayang Company may have attracted criticism for their adoption of fusion styles but Mr Oon stands his ground on the importance of keeping the Peranakan culture alive and staying relevant to the current generation.

He added that purists must be prepared for their culture to disappear if they choose to remain steeped in their notions of authenticity.

Besides, adapting and reinventing themselves has always been part of the Peranakan spirit. Citing the popular phoenix motif in his culture, he said: It symbolises rebirth. Our forefathers took the chance to leave China and start anew. Its about a new beginning and having new approaches to life.

36| kEEpIng up wITh ThE TImEs __________________________finding a middle ground

It is a tough call for arts groups that want to keep up with the times without turning their backs on tradition.

Groups that are adamant against change may find themselves catering to a niche and ageing audience. On the other hand, those that embrace modernity have the potential to draw larger crowds but risk misrepresenting the traditional arts.

Traditional arts researcher and owner of a traditional arts education company Wang Tian yu, 42, urges artists to be responsible as they present their art form to the audience.

Even as they innovate, they must have a strong understanding of the art form itself, he said.

Senior Parliamentary Secretary for Culture, Community and youth Sam Tan said in Parliament earlier this month that while traditional arts should progress with time, they should not change too drastically.

He added in Mandarin: Otherwise traditional arts will lose its character and they will be very different from its original heritage and then we would have lost a very important cultural heritage.

Over at Variasi Performing Arts, instructors believe students should be taught the basics of traditional Malay dance movements and music instruments before being introduced to fusion styles like hip-hop zapin. This ensures that they are not completely cut off from tradition.

But industry veterans such as 64-year-old traditional arts researcher and Dr Chua Soo Pong, who has watched the scene evolve over the past two decades, remain unconvinced. He believes that it is impossible to strike a balance between the old and the new.


Mr Terence Tan, 32, also adopted a similar approach when he directed last years Association of Southeast Asian Nations (Asean) Puppetry Festival in Singapore. He brought in a mix of both traditional and contemporary puppetry performances to appeal to a wider audience. Thailands Makhampon Theatre Group was one of the contemporary puppetry companies invited to showcase their work. Instead of using buffalo skin a staple in shadow puppetry to make their puppets, the group used recycled cardboard. They also replaced oil lamps with handheld light sources for their performance. Through this, the group was able to experiment with new lighting techniques unheard of in traditional shadow puppetry, such as cross-dissolving and fading.

My idea was that if you want to bring (the festival) to Singapore, you cant make it all traditional. Specific groups of people will come down to watch but these are going to be very niche groups (which are) not enough, said Mr Tan.

For The Main Wayang Company, there will be continued efforts to ensure that their performances remain relevant to their audience. By using a variety of languages, dialects, surtitles and multimedia, the group hopes to make its Peranakan theatre performances more appealing.

Said Mr Oon: Things change. Were moving on and progressing. Tradition may be the cornerstone of our culture but we have to move ahead without forgetting our past.

38| kEEpIng up wITh ThE TImEs__________________the way forward

For most groups trying to recapture a lost audience, it seems that modernising offers them the best shot at rebuilding their connection with them. Siong Leng Musical Association gave nanyin music, an art form which originated in China 2,000 years ago, a new lease of life when they incorporated sitars and tablas, musical instruments commonly used in classical Indian music, in their previous performance.

Fusion is necessary because traditional (performances) alone cannot survive, said vice-chairman Wang Pheck Geok, 47. The move paid off and the association played three sold-out concerts at the Esplanade last July.

During a show last year, Siong Leng Musical Association updated nanyin, a genre of music from Fujian, China, for a modern audience. The ensemble used multimedia and sand painting to embellish their performance. Photo: Siong Leng Musical Association

Thai puppetry troupe Makhampom Theatre Group used recycled materials and handheld lights in their shadow puppetry show during the Asean Puppetry Festival last year. It was a stark contrast to traditional groups that use buffalo hide puppets and oil lamps. Photo: Olivia Ng Li Wen

Htwe Oo Myanmar Traditional Puppet Theatre, a Burmese puppetry group which performed at the closing ceremony of the same festival, is known internationally for its efforts to preserve traditional puppetry. Photo: Olivia Ng Li Wen

41

____________________

Its deep in our culture, stuff that we cant erase even in the modern generation. Deep down inside, we

shouldnt be changing so fast.

Mr Terence Tan, Asean Puppetry Festival director

___________________

40

more arts grouPs to benefit from new funding schemes______________________

bold policy changes, including an upcoming $200-million matching fund and the extension of more funding options to commercial entities, receive a cautious welcome from non-profit traditional arts groups.

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mORE ARTs gROups TO bEnEfIT fROm nEw funDIng schEmEs | 45

Under the revised framework launched last month, for-profit groups can qualify for subsidies under four out of seven grants from the arts council. These include the Production, Presentation and Participation, Market and Audience Development, and Capability Development grants.

Of these, the most generous is the Production grant which offers up to $150,000 per financial year for each applicant. As its name suggests, the all-encompassing grant covers production, presentation and marketing costs of projects in performing, visual, literary and digital arts, and multi-disciplinary art forms.

Previously, for-profit groups were only eligible for two out of 14 available grants: Partnership Funding for Arts Businesses, and Publishing and Translation. These have since been combined into a single grant called the Presentation and Participation grant.

44 | mORE ARTs gROups TO bEnEfIT fROm nEw funDIng schEmEs

WHEN opera veteran Gary Kong received the funding application results for his 30th anniversary show last year, his excitement quickly gave way to dismay.The $10,000 grant from the National Arts Council (NAC), though generous, fell short of the hefty $30,000 he needed for the entire production. But with additional subsidies from the Lee Foundation and Singapore Totalisator Board, he managed to scrape together enough funds to stage a grand, one-night-only performance at Kreta Ayer Peoples Theatre in September. Fretting over budgets is nothing new to Mr Kong, the founder of the Chinese Cultural Arts Centre. We cannot earn much through ticket sales, he said. The cost of staging a full-length opera performance can fall between $1,000 and $50,000 depending on the scale of the production, say opera artists. To cope with the hefty financial burden, Mr Kongs Cantonese opera troupe, along with most non-profit arts groups, relies heavily on grants from statutory boards and the charity of kind donors for daily operations and productions.

But these groups reckon that they face new competition for limited funding after a recent revamp to the NACs grants framework. While public funding used to be reserved almost exclusively for them, commercial groups are now eligible for more grants these days.

Almost all the tickets, priced between $10 and $50, for Cantonese opera group Chinese Cultural Arts Centres 30th anniversary show last year were sold. Still, founder Gary Kong said that one cannot earn much from ticket sales alone.


Competition will definitely be stiffer, said Mr Dedric Wong, 27, general manager of the Chinese chamber music ensemble which plays instruments such as the double bass. He believes that the more inclusive funding comes at the expense of the non-profit groups. Up to 70 per cent of his companys operations are funded by the arts council and private donors.

On the other hand, Miss Syafiqah Adha Mohamed Sallehin, music director of the traditional Malay music group Gendang Akustika, is pleased to learn about the streamlining of the funding schemes. With a more straightforward application process, it will be easier for the non-profit group to apply for grants. Currently, the group survives on funds from the Peoples Association and their earnings from wedding shows. The popular music group plays at two or three weddings monthly and is fully booked for the rest of the year.

Having to vie with more arts groups for funding in future does not bother her. Gendang Akustika has not tried to apply for grants from the arts council, simply because there is no need for them at this stage, said Miss Syafiqah, 22.

Presently, their focus is on building their repertoire. We dont focus on public shows so much because were still quite new, she added. The group was formed in 2008 and has a total of 14 members, including singers and musicians.

_______________over-reliance on government funding

The current funding debate poses the question of the role grants serve in the arts. Likening it to a double-edged sword, Lasalle College of the Arts programme leader Audrey Wong, 44, said: Groups cannot survive without funding and yet, how much is enough?

Excessive funding can lead to a sense of complacency and a loss of drive to innovate and attract audiences, added Ms Wong.


___________________more comPetition for government funding

The new arrangement provides greater flexibility in supporting arts projects, stated a NAC media release. It also acknowledges the important role commercial entities play in the local arts industry, in terms of supporting production, and market and audience development. Still, these groups will not be eligible for the full set of privileges enjoyed by non-profit groups. For one, under the Presentation and Participation grant, they can only receive a subsidy of up to 30 per cent of their production budget. In comparison, non-profit groups can apply for a grant to cover up to half their total expenditure.

However for groups such as Ding yi Music Company, this revamp simply means smaller slices of the funding pie for all art forms, traditional or contemporary.

Non-profit artists are concerned

about the inclusion of commercial groups in arts grants previously reserved for them. Mr Dedric Wong, 27, of the non-profit Ding Yi Music

Company, feels that there will be stiffer competition for limited funds.

mORE ARTs gROups TO bEnEfIT fROm nEw funDIng schEmEs | 49_____________________________terms and conditions aPPly

The constant worrying about funding could be resolved by finding an arts patron to finance the groups activities, said Miss Syafiqah. Acknowledging the concerns of groups such as Miss Syafiqahs, the Government announced plans to encourage private sector arts donations as an alternative to public funding.

During his Budget speech last month, Deputy Prime Minister Tharman Shanmugaratnam spoke of a new multimillion-dollar fund to boost private donations. The $200-million Cultural Donation Matching Fund will match private-sector donations dollar-for-dollar and will be launched after the authorities complete consultations with arts groups and donors later this year.

Over the last decade, arts donations have been declining. In 2011, corporate and individual donations totaled $37.8 million, almost $10 million lower than in 2004. While specific details have yet to be released, the upcoming fund is poised to reverse this trend.

In response to this new initiative, artistic director V Raghuraman of classical Indian music and dance company Alapana Arts, said that he has reservations about how the fund will be administered. The musician, who has been in the local arts scene for 14 years, added that from his observation, most private sponsorships tend to go to larger arts institutions.

Those that are just (starting out) struggle with funding because the funds are going to established organisations. Now those already benefitting from private sponsors will get double the funds, said the 58-year-old. Alapana Arts is a mid-sized company with about eight teachers and 450 students.


Indeed, the provision of rental arts spaces at a 90 per cent subsidy had resulted in tenants having little incentive to find their own premises, found an NAC report published in 2010.

Hence the arts council announced the new Framework for Arts Spaces scheme, in place of the existing Arts Housing Scheme, in the same year. Rental subsidy was reduced to 80 per cent. Still in its pilot phase, this new framework currently extends to Goodman Arts Centre and Aliwal Arts Centre, a new arts space opened earlier this month.

But in spite of this move to wean artists off their reliance on government support, local groups continue to display a voracious appetite for public funding.

Mr Kong, who is in his 50s, recalled another instance when the arts council awarded his troupe $3,000 for a performance at the Nanyang Academy of Fine Arts.

I wanted to faint, he said, eyes widening in mock horror as he recounted the incident. The sum was barely enough to cover the venue rental cost, even though he managed to raise the funds eventually.

Opened in 2011, Goodman Arts Centre houses almost 50 artists and arts groups. Up to 80 per cent of the rental is subsidised by the National Arts Council. Arts housing is also available at Waterloo Street, Chinatown and Little India.


While traditional artists such as Mr Raghuraman may have their apprehensions, Acting Minister for Culture, Community and youth Lawrence Wong reassured the arts community that the matching fund will benefit a wider range of groups.

We want the scheme to benefit a broad range of arts and heritage groups and institutions, and so there is a need to ensure that the matching grants are disbursed in a generally equitable manner, and not monopolised by a few large beneficiaries, said Mr Wong in Parliament earlier this month.

He added that beneficiaries should take the initiative in fund raising, instead of replying on the Government.

While musician Ariffin Abdullah, 44, welcomed the new matching fund, he disagreed that arts groups were ready to do major fund raising on their own.

The founder of Sri Malighai, a Malay music ensemble whose repertoire includes traditional and contemporary pieces, said that the Government still needs to assist arts groups who lack the business acumen to bring in the donations.

Being an artist, business is not our main priority but we still need to survive to sustain our operations. We are not savvy businessmen, he said.

This is not about having a crutch mentality but how the arts industry needs to be assisted to move forward.


meet the next generation of traditional artists______________________

The reputation of traditional arts precedes it: old, stale and museum-bound. But a small group of aspiring young artists are undeterred and have dedicated years of their lives to their craft.

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mEET ThE nExT gEnERATIOn Of TRADITIOnAL ARTIsTs | 55

youths devote long hours of practice to fine-tuning their skills in playing lesser known music instruments or art forms like wayang kulit or nanyin an old genre of Chinese music that originated in the Fujian province in China. In a sunset industry with an ageing population, they are far and few between and hence highly sought after. Moreover, not many remain in the industry for long. Parental objections, coupled with concerns of making a living out of an arts career, have deterred many aspiring young artists.

____________________

Its very tough to get young people to join. So when the bird flies into the cage, we catch them

and dont let them go.

Mr Gary Kong, Chinese Cultural Arts Centre chairman

___________________

For Mr Aliff, his first foray into traditional arts was at the ten-der age of 13. He learnt to play the angklung in school, before picking up dikir barat a Malay musical form that typically involves two groups of 10 to 15 people singing competitively on stage. Last year, he was scouted by two acquaintances from the dikir barat circuit, Mr Mohamed Norazam Hakub and Mr Nurfaizal Jaafar, to join them in their efforts to revive the wayang kulit scene here. I didnt really know about wayang kulit before this, he said. But I was interested and so I agreed to join them. The group specialises in an indigenous form of shadow puppetry originating from the northeastern Malaysian state of Kelantan, known as wayang kulit Siam. They perform under the name Ethnic Shadows, a traditional arts company founded by Mr Norazam, 34, and Mr Nurfaizal, 31, last July.

54 | mEET ThE nExT gEnERATIOn Of TRADITIOnAL ARTIsTs

WHILE his peers play computer games in their free time, full-time national serviceman Muhammad Aliff Azman plays with puppets. The 22-year-old adeptly handles the perforated buffalo-hide puppets, mounted on spindly bamboo sticks, and guides them gracefully through the air as their shadows are projected on to a canvas screen. For the past eight months, he has spent almost every Saturday night learning the craft of wayang kulit or shadow puppetry in a tiny, cluttered rehearsal studio in yio Chu Kang Community Club. And in this studio, approximately half the size of a classroom, the NSman and his 12-man group practise up to three hours a night for upcoming shows: they sing, play musical instruments and manipulate puppets.

He belongs to a small group of young Singaporean artists who are passionate about traditional performing arts. These

Mr Muhammad Aliff Azman, 22, (centre) is training to be a dalang or puppet master. The national serviceman started learning wayang kulit after being persuaded by his friends, Mr Nurfaizal Jaafar, 31, (left) and Mr Mohamed Norazam Hakub, 34, last year.


to their childs pursuit of an arts career. Some worry that the heavy commitment required of artists may take a toll on their childs studies.

Nanyin musician Lim Ming yi, 18, recalled having spirited arguments with her mother during her GCE O-level examination period. Her mother feared she would neglect her schoolwork due to the long hours she spent on her hobby. Eventually, the two compromised and Miss Lim agreed to take a three-month break from the association to focus on her studies. She eventually did better than expected and qualified for a psychology course at Ngee Ann Polytechnic where she is studying now.

Ironically, it was her mother who enrolled her in nanyin music classes at the age of 10. Upon hearing from her colleague Madam Wang Pheck Geok, who is also the vice-chairman of Siong Leng Musical Association, that they were recruiting youths, she promptly sent her daughter for lessons. For the first four years, I felt like I was being forced to come for lessons, said Miss Lim. I couldnt go out on weekends either. But after learning a few songs, she grew to appreciate the melodies.

Nanyin musician Lim Ming Yi, 18, believes her art form is a dying

one. It takes time for people to warm up to it because of the

language barrier, she said. Nanyin, meaning music of the South, is

sung in the Hokkien dialect. Photo: Lim Ming Yi


Shadow puppetry performances are typically led by a dalang or master puppeteer, which Mr Aliff is currently being groomed to be. His teacher is a Kelantan puppeteer who makes regular trips to Singapore every three months. Im still learning about the art form, said the trainee dalang. Singing was tough at first because of the language barrier. Wayang kulit Siam tells a localised version of the Ramayana, a Hindu classic, and is presented in the Kelantanese dialect. But with more practice, the words and expressions gradually became more familiar to him. Seated cross-legged on the rehearsal studio floor during a practice session last month, the multi-talented performer wielded the intricate and colourful leather puppets with confidence. When portraying different characters, he switches effortlessly from a high tenor to a low baritone while his group members provide musical accompaniment on percussion, wind and brass instruments in the background. Despite being a young group, they have a handful of performances under their belt, including the opening festival of the Malay Heritage Centre last September. On top of regular Saturday night rehearsals for these shows, Mr Aliff, who books out of camp daily, attends optional practices on Tuesday nights from time to time. The long practice hours may come at the expense of spending quality time with family and friends but Mr Aliff is nonchalant. Having been in the arts scene since his teenage years, he is used to making such sacrifices , he said with a light shrug.

________________________________managing Parental objections It helps that his family is supportive of his passion. But not all parents share the same degree of understanding when it comes


Like these two women, Mr Aliff does not believe a career in the traditional arts can last. Its not very practical, he said. Becoming a teacher, which he is currently considering, would provide greater stability.

____________________________making a living in the arts:then and now

These days, making a livelihood out of the traditional arts seems like an elusive dream, especially when one is faced with the soaring cost of living in Singapore. But one or two generations ago, it was a very different scene. Cantonese opera performer Choy yien Chow was only 11 years old when he picked up the art form. A teacher had taken a liking to him and accepted him as a disciple. Mr Choy, now 66, recalled waking up at dawn to do vocal warm-ups by the sea. It was very tiring and I still had to go to school after that, he said. Back in the 1960s, young trainees were expected to be all-rounders and he soon picked up Chinese martial arts, acrobatics and calligraphy. After completing his secondary school education, he worked in different industries for years before deciding to focus on performing and teaching traditional arts. In 1989, he set up his own company, Choys Brothers Opera Troupe. These days, the troupe is regularly invited to perform at corporate events.

Although some sceptics doubt that success stories like Mr Choys can be repeated in Singapore today, two young artists are determined to prove that a lifelong career in the traditional arts is still viable.


Nanyin music is very slow and relaxing. It intrigues me and when I play, I enter the performance, said the multi-instrumentalist who has mastered the pipa, erxian and sanxian, which are stringed instruments, as well as the dongxiao, a flute. With eight years of experience as a nanyin musician, she took on an additional role at the association last year conducting one-on-one lessons twice a week. All three of her students are in their 20s. youthfulness can be a double-edged sword for a teacher. She connects easily with her students and her bilingualism allows for effective communication. However, some older students lack respect for the younger teachers due to a perceived lack of qualification. While she is contented to perform and teach for now, Ms Lim does not plan on building a career as an artist. Instead, she intends to pursue a career in psychology.

____________________

I can see myself being here for the next 10 years, until Im old. Its my second home and I dont see myself leaving. But its not a real job. Ive never thought of

doing this full time.

Miss Lim Ming Yi, nanyin musician

___________________

Turning professional is not an option for local nanyin musicians as the market for their traditional tunes is limited. Vice-chairman Wang Pheck Geok, 47, asked: Where can our young performers go if they want to turn professional?


performs overseas with the troupe monthly or bimonthly and has travelled to Cambodia, Sri Lanka and Liverpool for shows.

____________________

Now that Im no longer torn between work and dance, Ive gained a lot more freedom.

Ms Seema Harikuma, Bharatanatyam dancer

___________________

Bharatanatyam dancers Ms Seema Harikumar, 28, (left) and Ms Deva Priya Appan, 29, performed at the Sri Senpaga Vinayagar Temple last

year. As a child, Ms Harikumar was fascinated by the dancers

costumes and jewels, and learnt to dance at the age of nine.


It may seem idealistic in a society where the norm is to hold an office job with a steady income, but these young women, who are in their 20s, are more than aware of the risks involved. Should their plans go south, they will at least have their academic qualifications to fall back on.

Still, for Ms Seema Harikuma, 28, convincing her family members to support her decision was not easy. When she chose to leave her job as a project manager at a multinational corporation last March to become a professional dancer, her parents were less than thrilled.

I always knew that I wanted to do this full time, said the political science graduate from the National University of Singapore (NUS) who attended her first dance class when she was nine. But pragmatism kicked in and she settled for a job in the corporate world after graduation. Even then, she continued to juggle work and dance simultaneously.

After six years of corporate life, she called it quits and joined Apsaras Arts, an Indian dance company, as a professional dancer. The skilful performer is adept at both traditional and contemporary Indian folk dances, including the classical Indian dance Bharatanatyam, and the flamenco.

The job switch came with a 50 per cent pay cut. While many of her peers would think twice about accepting the smaller paycheck, Ms Harikumar simply copes by spending more prudently. She has since put to rest her parents concerns of her being able to making ends meet.

Planning ahead, she intends to complete a masters degree in dance and become a lecturer in five to six years time. As an educator, she will be able to share her appreciation of dance and Indian culture with even more people. Presently, she handles business development for Apsaras Arts on weekdays and teaches classes on weekends. In addition, she


that she continues to use today. Its just like playing the keyboard vertically and I already knew how to play that.

Although Ms Syafiqahs music group may have achieved moderate success in the wedding circuit, with bookings for wedding shows up till next year, she is grounded by the gritty reality of being in the local arts industry.

Competition remains stiff, she said, and there is a constant risk of being overtaken by other industry players. Nonetheless, she is confident of her career path and has dreams of her group setting up their own traditional Malay music school someday.

Although they may have their detractors, perhaps it is up to ambitious young artists like Ms Syafiqah to determine the fate of traditional arts in the coming decades.


Another traditional arts performer, Miss Syafiqah Adha Mohamed Sallehin, has her sights set on a career in classical Malay music. Currently a final-year undergraduate at the prestigious yong Siew Toh Conservatory of Music at NUS, she has been performing at weddings with traditional Malay music group Gendang Akustika for the past three years. Upon graduating, she plans to join them full time.

The 22-year-old majors in composition in school and as the groups music director, she performs and arranges traditional songs. Her original arrangements incorporate both traditional and modern instruments such as the accordion, keyboard and hand drums. For Miss Syafiqah, her love affair with music started at home. Growing up in a household of traditional music lovers, she decided to join the Singapore Malay youth Orchestra as a keyboard player after secondary school. Her father, who works in the public sector, bought her an accordion at 17 and encouraged her to join a music group. I learnt how to play it on my own, she said of the accordion

Miss Syafiqah Adha Mohamed

Sallehin, 22, joined a Malay traditional music group in 2009 with her fathers encouragement. He bought me an accordion, even though I didnt know how to play one, she said, eventually teaching herself to play it.

Curtain Call: A Final Bow for the Traditional Arts

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