HEAD Q - MINISTRY OF INFORMATION, COMMUNICATIONS AND THE ARTS

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Head Q – Ministry of Information, Communication and the Arts

Growing global competitive enterprises

Mr Zaqy Mohamad (Hong Kah): Sir, I beg to move,

That the total sum to be allocated for Head Q of the Estimates to be reduced by $100.

Mr Chairman, Sir, thank you for giving me the opportunity to kick-start the COS for MICA. I am heartened with MICA's themed approach, given the breadth of sectors that it covers. I am sure that the House looks forward to the Minister's response to our cuts on its Economic, Cultural and Social strategic themes.

One of the ESC recommendations was for Singapore to develop a base of globally competitive local enterprises by growing 1,000 Singapore enterprises with revenues over $100 million by 2020. A common feedback in the industry is that beyond the likes of Creative and even the likes of SingTel, StarHub, SPH and MediaCorp, we have not grown many more globally competitive firms in the ICT and media sectors.

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Given the advanced infrastructure such as high-speed broadband, many multinational companies here and the high penetration of Internet-savvy population, we have not been able to grow more $100 million global brands in recent years. With the fact the world is now borderless and that we have a globally exposed, highly-educated population, I would have thought that the current environment presents opportunities for us to create the next Google, Yahoo or eBay out of Singapore. The same way we nurtured the water industry, to help develop Hyflux to be a global player, through innovative projects with the PUB and overseas missions, I would have like to see more industry champions created as MICA looks to strive towards the ESC's economic objectives.

So, how is MICA developing our local companies in the info-communication, media and design sectors? What is MICA doing to help them grow beyond Singapore?

Apart from the GLCs, what is the estimated number of $100 million ICT, design and media companies on MICA's radar? Does MICA have a performance indicator or target of the number of $100 million companies that it plans to grow over the next three years? How many of our local ICT, design and media companies have also responded to grow internationally? What are MICA's challenges to grow such companies?

MTI has a wide, diverse network in key sectors in overseas markets. Will MICA consider letting MTI to take over the industry development aspects of the charter? ICT and design sectors are horizontal sectors that can cut across industries and if allowed to work closely with the other sectors, there may be greater synergy found with other Singapore companies overseas in many

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different sectors, if they are handled under one umbrella instead of two. Industry development is about business development, business match-making and facilitating financing with venture capitalists or financial institutions rather than about specialist technical competencies or regulation.

Mr Chairman, I am on to my second cut.

Promoting more 'Singapore-made' works

The challenge with many of our industry development initiatives are that they call for accountability for real, quantifiable outcomes. Sometimes, in an effort to justify Government spending in the areas of the arts and media, we rush for "quick wins".

Sometimes, this may mean justifying supporting movies that have visible commercial value and the use of overseas acting and production houses, rather than attempt to take the less tested path of trying to groom our local artists and production talents. I think that sometimes, for national interests, we have to take that leap of faith in our local talents.

It is hard to quantify national interests in grooming our local talents and productions in terms of commercial returns or value-add. We should promote a thriving local industry and give more room for local talents and Singapore-made productions. The objective is to make Singapore more prominent in the global media map, to establish our own creative identity, for which in some countries equals to promoting a nation's "soft power" or cultural influence.

This is an established concept even in developed countries. Some equivalent initiatives elsewhere include the French and Canadian film industry that have the

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mandate to develop and product French and Canadian films. The BBC is government-funded to promote specific interests. Even such developed nations find it important to promote their cultures and creative works for the domestic and international markets.

I do not think their industry makes huge returns on government funding. Most do not turn out to be blockbusters, but they imprint in our minds images, impressions to provide some understanding of their culture, language and their unique view of the world and its affairs. It is obvious, in this media scene that is dominated by commercial blockbusters and pop hits, one can sense the need to preserve some bits of our uniqueness, culture and identity in our home-grown works.

I recognise the pressure on MICA and MDA following AGD's questions on the effectiveness of its funding for the film sector in 2009. But if MICA is not given the leeway to promote more initiatives and grants that favour Singapore-made works, then who will champion for our local productions? So, I urge MICA to look into providing greater support and funding to develop our local media sector. There are not many financiers out there who will help our local filmmakers, artists and creative talents. We are building our local culture, and many of such works can leave a legacy not just for our children, but for the world out there to appreciate Singapore and our view of the world from our eyes.

I am on to my third cut, Chairman.

Effective media competition

One topic of greater interest in recent months has been the bidding war between SingTel and StarHub over the EPL broadcasting rights. This was then followed by the broadcast rights issue with the World Cup.

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Although SingTel, which finally won the bid, eventually offered plans at a comparable cost to StarHub's current packages, there is no guarantee that future competitions for key content would not drive up costs for subscribers. We have had many debates in this Parliament on exclusivity of content. Can MICA provide an update on MDA's review of the EPL and World Cup issues, in particular, how it plans to respond to these developments, and whether there are plans to rationalise some of the state of competition to better protect consumers' welfare?

Consumers have also expressed concerns over the inconvenience of having to switch set-top boxes, now that the EPL is offered by a different provider. Are there plans by MICA to move towards a single set-top box environment? This may make it easier for consumers to make choices if there are more players in the market. Would these measures also be extended to equipment such as the exclusivity of products such as the iPhone for example, to selected carriers? I think at the end of the day, such service providers can do more to differentiate in terms of services, plans and prices, rather than hold on to the monopoly of products and content. I think this will benefit consumers in the long term.

Media industry development

Mr Baey Yam Keng (Tanjong Pagar): Sir, local films have an important role to play in our effort to build a strong national identity. Governments in other countries, some more subtly than others, have utilised films as highly visible vehicles to rouse feelings of patriotism and instill national pride.

Therefore, I think it is timely for us, at this juncture, to pay more attention to how we can facilitate the creation of memorable, high quality, local films.

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Making movies is a highly risky, expensive business. And yet, the only way our film-makers can improve and make good movies is to start and continue making movies.

The governments of China and South Korea know that it is necessary to give their local filmmakers exposure and time to gain experience before they can make an impact globally. Without the support of the state, local filmmakers have very little chance of facing off Hollywood blockbusters at the box office. Both governments enforce screen quota systems which reserve screen time for local films.

I am not suggesting measures such drastic as that for Singapore. But I like to propose instead that we require our cinema operators to screen local short films before feature films. Such short films usually last only 10 minutes. Many filmmakers do start off with making short films. That is where they hold the scales. The exposure will be invaluable to our budding artistes. We will be bringing their works to audiences island-wide. Discussions, criticism and debates that ensue will help them to improve. Over time, a number of them will win supporters and fans and attract collaborators and investors.

Foreign films dominate our screens. Our youths are fed a steady diet of foreign, particularly American, values and attitudes, and their visions for the future. We should have our own voice and tell our own stories.

Initiatives like the New Feature Film Fund launched by the Singapore Film Commission in 2008 are promising. I am particularly happy to note that the scheme also ensures that there is distribution for the finished products, as Golden Village Pictures has signed on to screen the movies.

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This year's Budget is providing a tax deduction of 250% on the first $300,000 of R&D expenditures, and 150% on the remaining R&D costs. Investment into creative content like films is like R&D into our national culture and identity. While some films do make commercial returns, so does R&D in technologies and products. So I would like to urge MICA to look into tax relief schemes to encourage private investors to finance our local films.

We should also do more to expose Singaporeans to working opportunities with foreign production teams. A good example is the move "Host 2", the first Korean-Singaporean co-production. Some industry-insiders believe that the recent increase in co-productions has been due to these other countries' interest in the huge China market. They hope that a partnership with Singapore will make their products more acceptable for the Chinese domestic market, and we should leverage on this opportunity.

Finally, I would like to ask the Minister to give us an update on the Singapore Media Fusion Plan with the focus on our film industry and what we can do to help our local filmmakers.

2.30 pm

Mr Baey Yam Keng (Tanjong Pagar): Competition in the media industry

Mr Calvin Cheng (Nominated Member): Sir, the media industry has been undergoing a lot of changes in the recent years, especially where competition is concerned. Much has been said about whether competition is necessarily good in a small market like ours, but the Government has taken large steps in trying to increase the competition in Singapore's media industry.

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First, the broadcast industry. After the tragically failed experiment in introducing competition in the free-to-air market, the Government has taken important steps to encourage competition in the pay-TV market. Much has been said that the competition between SingTel's mio TV and StarHub Cable TV has so far been destructive and to the detriment of consumers and thus should not be encouraged. I disagree. What we are seeing now is a natural play-out of competitive forces in the short run and although consumers may feel disadvantaged in the short run, in the mid and long run, if mio TV is able to successfully compete with Starhub, consumers will benefit. Together with the MICA's effort to encourage the cross-carriage of channels, and the development of a common platform, I have no doubt that this will be achieved.

It is however, in the free-to-air market that most of my concerns lie. MediaCorp remains a monopoly. I am not calling for another experiment in horizontal competition, by introducing another free-to-air broadcaster. We have had already one expensive failed attempt, and Singapore can hardly afford another one. Moreover, the future in horizontal competition lies in satellite, IP TV and cable networks because of the near-infinite bandwidths that these technology platforms offer.

Instead, Sir, I would like to focus on vertical competition. MediaCorp TV is now a vertically integrated entity that distributes through its TV stations, produces through its studios as well as provides the artistes for its own productions. Sir, although vertical integration can create lower internal transaction costs as well as reduce uncertainty in the supply chain, it can also be highly inefficient if there are upstream bottlenecks. In the case of MediaCorp, because it is the monopoly free-to-air distributor, there is one big bottleneck. In this case, MediaCorp has the ability to

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foreclose the downstream market by being vertically integrated as it is the case now.

Although I understand that MICA has a certain quota of productions that it compels MediaCorp to farm out to external production companies, it is highly incentivised to retain the most profitable productions for itself. It is also highly incentivised, as a vertically integrated profit-making company, to use its own production houses as far as possible as it then internalises the profits rather than having to hire a third-party. This is the same further downstream where it makes sense to use actors and actresses it already has on its payroll, from its own artiste management division, rather than hire artistes from outside the company. In this way, the whole value chain is incentivised towards MediaCorp foreclosing the vertical market, not through conspiracy or malice, but because it makes sense to do so from a business perspective.

Sir, I am not a radical and although after talking to people in the TV production industry, there has been some urging for me to call for the vertical breakup of MediaCorp, I am not about to do so. This would be extremely costly, difficult, and if it fails, we may not be able to put "Humpty Dumpty back together again". Instead Sir, I would like to offer another suggestion, that of the functional separation of MediaCorp and for MICA to regulate this.

Recently, an article was sent to me by British Telecommunications (BT) detailing the case of the functional separation of BT. BT was the first telecommunications firm to functionally separate and there may be lessons we can learn in terms of MediaCorp. What is functional separation? I quote from the article: " 'Functional Separation' is driven by the principles of competition, transparency and non-

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discrimination. It is a system where a business unit is separated within its parent company without becoming an autonomous company in its own right. It is a form of regulation that seeks to ensure that competitors can use an incumbent's network without fear of discrimination". In this case, MediaCorp's monopoly free-to-air TV channel network. It objectively shows that non-discrimination and transparency exist, giving the regulatory certainty needed to invest; it allows for downstream deregulation by concentrating on upstream enduring bottlenecks.

Two principles stood out for me in terms of ensuring behavioural compliance: First, different parts of the businesses must follow strict rules when sharing customer and commercial information. Secondly, and this is very important. If a company has been functioning for a long time as a vertically integrated company, it is a Code of Practice for employees to ensure that cultural and behavioural changes take place to support the undertakings of functional separation. How would this apply to MediaCorp? It will entail MediaCorp functionally separating its broadcast network from its production network. This would mean that all production companies, whether owned by MediaCorp or not, have a fair chance, perhaps through a pitch or tender, to put its programmes on MediaCorp channels. If a MediaCorp channel wants to commission the production of a programme, it will need to call for a tender from all production companies, including its own, and award the commission to the best tender. If MediaCorp Studios happens to win the tender, or is the production company, it has to cast artistes from all artiste management companies, as well as freelance artistes, and not only from its own salaried employees. MICA, as the regulatory body, will then have to ensure that there is behavioural compliance.

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Sir, the aim of our failed experiment at horizontal competition was to nurture a competitive, thriving media industry in Singapore. I would argue that the functional separation of MediaCorp will go even further and be easier to execute, in achieving this. Production houses are the lifeblood of a media industry and if they were allowed to compete on an equal footing with MediaCorp Studios to get their programmes distributed in Singapore, we would be more likely to nurture good production companies that create content for the international market. It would also be a more efficient use of PSB funding if all production companies can compete equally to produce PSB-funded programmes. We may also see a flourishing of actors and actresses, and even produce our own Michelle Yeoh or Zhang Ziyi, if talent comes to Singapore knowing that they have an equal chance of appearing on our local TV channels, without being signed up by MediaCorp artistes.

I understand that what I am suggesting will take a fair bit of research and resources by MICA, and I do not expect this to happen any time soon. However, I do hope that in its next strategic review of competition in the media industry, MICA can take my views into consideration.

Finally, I would like to turn to competition in the magazine market. I declare my interest as my company prints one title. Sir, I understand that there are over 5,000 magazines in Singapore, both indigenous as well as imported. However, I would like to ask whether MICA has ever conducted a study on the market to see if there are oligopolistic forces inherent in the market, given that there are two big players, SPH Magazines and MediaCorp Publishing. Sir, it is not the number of magazines that is relevant here but the circulation as well as the defined market. The magazine market is not one

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monolith, but segmented. If there are 5,000 magazines, and one company owns most of the biggest magazines by circulation in one market segment, say the women's magazine market, there may still be monopoly power. I thus hope that MICA could take a proactive role to ensure that the print media industry is also competitive.

Sir, the media industry is one of the backbones on which a national and cultural identity is formed. It is necessary to ensure that it is competitive, as it is only then that Singapore can have a thriving media and arts scene to shake off the "boring" image that we have.

SingPost

Mr Low Thia Khiang: Chairman, Sir, visiting the post office now can be quite an experience ever since the privatisation and subsequent listing of SingPost on the Singapore Exchange. Over the years, SingPost has transformed itself into a multi-service centre instead of just providing postal service.

To those who have not visited a post office lately, let me give them a quick tour. Apart from postal service, you can buy software, computers, cameras, household appliances, and insurance. You can do remittance, get ezyCash, and borrow money from a "guy" named "James". SingPost is even into pawn broking. You can get "Speedcash" by pawning your gold jewellery. If you have no gold jewellery, you can try the outlets in Geylang and Chinatown Point. These outlets accept branded watches. I understand the need for SingPost to move with the times to go beyond providing postal service. I also understand the listed company needs to be proactive in its commercial activities to remain viable and to create value for its shareholders, of which the Government, through Temasek Holdings, is a substantial shareholder.

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However, Sir, my concern is whether SingPost is distracted by all these "high value" services and has forgotten its Pledge of Service of providing reliable, on-time, and value-for-money postal service. I received feedback of long waiting time at some post offices for simple transaction of posting a registered mail or even buying stamps. I have also received feedback that letters were not delivered to the correct addresses but to a neighbour's home instead. Such incidents are not uncommon and we cannot always depend on the goodwill of our neighbours to return the wrongly delivered mail.

Recently, to my surprise, even mail posted to a PO box can be delayed by a month or two. I would like to know the role of the Government in regulating postal service and the benchmark it uses to assess the service standard delivered to the public.

Live football coverage

Mr Arthur Fong (West Coast): Sir, lovers and fans of football were greatly boosted with the broadcast of football matches telecast "live" from all over the world, unlike the times during most of our school days, where only a few high profile matches had "live" telecast. I recall one such football season where my classmates would come to school looking glum and brooded throughout the day because his favourite football team had lost, such is the fervour of football fans.

The "live" telecast of football matches in general and in particular matches from the English Barclay's Premiere League, games upbig business. Many entertainment outlets from private clubs to sports bars and right down to the neighbourhood kopitiam showing the games "live". If they do not, they stand to lose business to their immediate neighbour who does. This probably explains why SingTel will fork out $40 million in the successful bid

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wresting the rights to broadcast the games "live" from StarHub.

However, even though the changing of hands of the right to broadcast would only take place in the season 2010 and 2011, it is causing a great deal of anxiety, grief and worry. Football fans in Singapore were dismayed, to put it mildly, last year, when they were unable to view Live European Club Championship or commonly known as the Champions' League. But they were able to continue with their English Premiere League games. Come next season, they would have to change their contracts and deal with the unfamiliar setups, bringing grief to many. Well, football fans will, nonetheless, put up with it.

It is big business and interest at stake. SingTel has paid big money to wrestle the rights from StarHub. Although in the initial period, football fans have not lost out the possibility of paying more in future is not guaranteed. It is a commercial decision and commercial operators get in to recoup their investments with a view to generate profit. Consumers may end up paying more. Because of the amount that SingTel had paid for the right to telecast, this is the unwitting effect of FIFA asking Singapore Football fans to pay more to be able to watch football World Cup 2010 from Africa "live".

What can MICA do to ensure the local consumers are not held to ransom with the monopolising of the rights to telecast?

The Chairman: Mr Zainudin. Please take your two cuts together.

Impact of bidding war for media content

Mr Zainudin Nordin: Sir, the issue of free competition and bidding war for media content like popular Championships and sporting events, for example, the EPL, has become a topic of concern for consumers. Research company, TV Sports

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Markets, claimed in May 2009 that Singapore is the EPL second most lucrative overseas territory worldwide after Hong Kong. In addition to the inconveniences and the uncertainties that resulted from these competitions, consumers are also worried about escalation of costs and wastage.

In my view, Sir, unproductive competition is unhealthy. Similarly, the authorities cannot just sit by and watch as an observer. There need to be some degree of regulation to monitor bidding behaviour and protect consumers from possibility of cost spiralling out of control. May I ask the Minister what is MICA's policy on unproductive competition? Are there plans to rationalise future competition?

Digital divide and broadband usage

Singapore has developed an advanced and reliable communication infrastructure and our Government is strongly committed in making Singapore one of the most connected cities in the world. A high quality, progressive telecommunications security regime has resulted in a richly competitive market and all restrictions on direct and indirect foreign ownership within the countries' telecom sector, has been lifted. Experience has proved that given the proper infrastructure, ICT can be an enabler for social economic development.

However, have we done any research on measuring the real impact and benefits of ICT on the commonman to justify the increasing of ICT investments? With an elaborate internet network and excellent infrastructure available to support broadband services, almost 100% of the Internet households have broadband access. The Government has continued to maintain a strong commitment to make broadband internet access widely

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available to the population, at the same time, lifting the quality of the access. Experts say that broadband-based application have the greatest impact on people, society and businesses. Generally, access to broadband enhances business efficiency, enables swifter product market penetration, promotes greater productivity, creates avenue for rapid exchange of information, improves logistic and delivery systems and facilitates efficient service to customer. Sir, I would like to ask if MICA has enhanced efforts to increase the public awareness of broadband usage and I would like to see more of our Singaporeans benefiting from being connected.

The Chairman: Mr Teo Ser Luck, please take your two cuts together.

2.45 pm

Reaping the benefits of broadband

The Senior Parliamentary Secretary to the Minister for Community Development, Youth and Sports and Minister for Transport (Mr Teo Ser Luck): Sir, like the Member, Mr Zainudin Nordin, I am also very excited about the plans for broadband. It was previously announced that it would reach 60% of the premises in 2010, 95% in 2012 and also there was a vision for a computer in every home by 2015. This would make us all wired up and help position Singapore as a truly technological nation. The benefits are not just for the business sector where it will become more efficient, but also in job recreation. Like the Member, Mayor Zainudin, I think this is going to benefit every Singapore citizen. My question would be, how would the Ministry ensure that every citizen actually benefits from these broadband plans and that we can have access with efficiency and with knowledge. It is good to close the digital divide and it is important also that we be more inclusive to make sure that everybody has access

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to broadband at all levels in all segments of the society.

Helping local SMEs

This year many of the Budget measures were focused on the SMEs. One of the ESC's recommendations was for Singapore to develop a base of globally competitive local enterprises by growing 1,000 Singapore enterprises with revenues over $100 million by 2020. I want to know how would the Ministry actually help those SMEs in the media and digital media sector? It is never easy to spot a winner. I had experienced with several dotcom and digital media companies. Everybody wants to be a Goggle, Yahoo or a Facebook but it is hard to pick a winner. Still we do not want to discourage these dreamers because these dreamers are the ones that can see the future and they can create a company around that. I want to know how the Ministry would help this industry. Although this industry is high risk, it has high returns as well. How would MICA help some of the local SMEs or is MICA going to select some SMEs to provide them with the incentives or seed funding in order for them to succeed overseas and become a $100 million company in many years to come?

ICT infrastructure projects

Mr Zaqy Mohamad: MICA has done well to keep Singapore among the leaders of ICT adopters in the world – bringing innovation to businesses and consumers, as well as investments that provide jobs for Singaporeans.

Can MICA give an update on its infrastructural projects that are being implemented and the benefits that they will bring to businesses and consumers? What can they expect in the near future?

In the previous budget, the Government announced a large expenditure of

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close to $1 billion for the Next Generation Broadband Network. How does MICA plan to regulate the industry to ensure sufficient competition and lower broadband connectivity prices? How much savings or improvements in performance can consumers and businesses expect when NGN goes "live"?

One aspect of this initiative was concerned with the open access and therefore the creation of Netco and Opco. However, the outcome of the tenders is that both are subsidiaries of incumbents – SingTel and StarHub. I hope that after spending millions, we are not back at square one with the two big boys. What measures are in place to ensure new entrants to this open access network are not disadvantaged by monopoly or oligopoly? Will the regulator have sufficient powers to intervene quickly in unfair commercial practices, given that the aim is to promote new entrants through this open access network?

On a separate note, the development of ICT by MICA and its agencies can only be as good as its people. To their credit, we have done well. Firstly, ICT jobs are not choice jobs for many young Singaporeans. So how does MICA plan to attract and retain the best talents? With MICA outsourcing many projects to the industry, how does it also plan to retain competency within the Government? For the Government to continue to drive ICT innovation, it must not only be technically competent but increasingly, have a good understanding of the business of Government. And well, the business of Government cannot be easily outsourced.

The Acting Minister for Information, Communications and the Arts (RAdm [NS] Lui Tuck Yew): Chairman, Sir. First, let me first thank GPC Chair, Mr Zaqy Mohamed, and hon. Members who have spoken. Members have made many thoughtful comments and insightful suggestions, some of them delivered at breathtaking

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speed. So I hope you will allow me and the Ministry time to reflect on them and consider them carefully because many of them are worth much deeper thought and careful consideration. But I will try and group my response to cover three main segments that have been raised by Members. Firstly, promoting the growth of our local companies; secondly, to address the state of development and competition in the media sector; and lastly, to talk about the progress of our ICT infrastructural projects.

MICA's focus over the past year was to help the infocomm, media and design industries ride out the economic storm, and to prepare for the upturn. Moving forward, MICA will intensify our efforts to boost the skills, innovation, and productivity of our workforce, to contribute towards the growth of globally competitive local enterprises, and to make Singapore a vibrant global city and endearing home.

Several Members – Mr Zaqy Mohamad, Mr Teo Ser Luck, Mr Baey Yam Keng and so on – have enquired on our plans to help local SMEs. Let me first start with the infocomm sector.

To help our local infocomm companies scale up and expand globally, the Infocomm Development Authority (IDA) plays a key role in establishing G2G and G2B partnerships with key overseas markets. To date, we have about 50 Singapore infocomm companies that are engaged in a number of overseas markets.

We launched the IDA International and the Global Development Centre of Excellence in 2009. The IDA International was launched as a result of many requests from foreign governments to Singapore to help them address and grow their e-government services and we found that IDA was not able to devote the

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bandwidth and resources to this effort and so we started IDA International. One year later, more than 10 infocomm-related MOUs have been signed and we have consulting service engagements secured in countries from as far as Trinidad and Tobago to Oman. IDA International works with the local industry, and together they secured about $11 million of projects in 2009, its first year in operations and it expects to do significantly better in 2010. So I would say that there is actually much growth potential for our local infocomm companies. We will want to pursue this pipeline of opportunities in partnership with IE Singapore and the Singapore Infocomm Technology Federation (SiTF). This is the model that has been adopted in many industries. Rather than have MTI alone oversee some of these efforts to bring our companies abroad, the sectoral champions in this case, IDA and IDA International for the Infocomm, will work with the Federations as well as with the companies to identify and exploit the opportunities overseas. Many of our local infocomm companies had succeeded in gaining access to overseas markets but SiTF and IDA International will actually need to actively encourage a consortium approach by our companies so that we can exploit the larger overseas opportunities. Members are right in the sense that we do not have many companies that are of that sufficient scale – ST Electronics, NCS, Crimson Logic are some of the names that come to mind – and we need to actively encourage companies to come together so that they together with SiTF and IDA can bid and win some of these projects overseas.

IDA also actively promotes Singapore-made infocomm solutions through many channels. For example, the National Infocomm Awards (NIA) has been an excellent platform to help firms gain local as well as international visibility. Muvee Technologies was a winner of the first NIA in 2002. It gained international recognition for its work and today millions

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of copies of its award-winning home-movie making software, the autoProducer are shipped.

In terms of raising workers' skills and productivity, the IDA has put in place a range of schemes together with partners such as the Institute of Systems Science, NUS and the polytechnics, to develop the ICT manpower pipeline. In total, over 400 training courses were endorsed and more than 7,500 professionals had benefited from these schemes in 2009, almost double the number of those who benefited in 2008. To build our pipeline of future talent, IDA has also invested in programmes such as the National Infocomm Scholarships (NIS) and the Integrated Infocomm Scholarships (IIS) that allow somebody who enters the programme at the polytechnic level to continue to university and to be funded for both programmes, the diploma as well as the bachelor's degree. Last year, we awarded 26 National Infocomm Scholarships and 20 Integrated Infocomm Scholarships.

Beyond the infocomm industry, ICT can play a critical role as a multiplier to raise productivity and drive innovation. This is especially so for SMEs. More SMEs are recognising the benefits and they are now investing in infocomm technology. Under what is known as the Infocomm@SME p rogramme, more than 3,000 companies enjoyed subsidies to establish their first company website since the year 2008. Over 7,000 SME participants learnt how to harness infocomm technology through the SME Infocomm Resource Centres. In addition, more than 90 SMEs have transformed their business operations using infocomm technology, with over $6 million in grants from a joint collaboration between IDA and SPRING.

IDA has been working closely with IRAS and SPRING to enhance this Infocomm@SME p rogramme. Starting

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from March this year, SMEs can look forward to a wider scope of assistance with what is known as the new iSPRINT scheme. A total of $25 million has been set aside for this scheme, $5 million from IRAS under the Accounting Software Assistance Scheme, and $20 million from SPRING. We expect that this will benefit more than 4,500 SMEs.

Just to give an example of how powerful this can be, Nanofilm Technologies implemented a SAP solution last year to manage its business operations and to improve data reporting. Now, its management has better oversight over its sales, production and inventory as well as data from transactions being entered directly into databases. The estimated savings come up to around $200,000 per year and this would allow Nanofilm to recoup its initial investment in about a year.

In the design sector, the DesignSingapore Council has in place several programmes to grow the capabilities of our local designers and design companies.

The Design Capability Development Programme grooms local designers by supporting their professional development and overseas exposure. Twenty-two grants worth more than $250,000 were awarded last year. The Overseas Promotion Partnership Programme, which co-funds local designers and firms' participation in prestigious international platforms, awarded close to half a million worth of grants last year. Through these efforts, Singapore design and designers have been gaining greater recognition internationally. They garnered 126 awards last year compared to 51 awards a decade ago.

MICA is carefully studying the ESC recommendations, which have highlighted design as a key business capability to raise productivity. We are fine-tuning a

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number of design-related initiatives and programmes that will sharpen our competitive edge and we will share more details on a separate occasion due to time constraints.

Let me now move on to the media sector which has attracted a lot of attention. Some of the points that are raised I will try and answer now; some relating to national identity, culturally-related issues, I will answer after the next set of cuts.

Firstly, Mr Baey asked about the progress of the Singapore Media Fusion Plan (SMFP), to strengthen the media ecosystem, to create globally competitive companies. Let me just say that the SMFP tries to do several things. One is partnerships; second is funding; and the third, markets. So it tries to establish partnerships – whether it is in co-production, whether it is getting companies to do work here that will allow them to partner our local companies or whether it is to have foreign companies locate here that will be able to employ more of our people and help them upskill their expertise. We have overall made, I think, good progress with SMFP. Last year, we had about 2,400 media professionals trained and more than 1,400 jobs created or supported. International calls for proposals have generated projects with partners from countries like Australia, the United Kingdom, South Korea and China.

One of the key priorities of the SMFP is to secure media financing, crucial in enabling our media enterprises to expand globally. Despite the economic downturn, MDA attracted another $200 million of private media funds in 2009 and this brings the total media funds anchored in Singapore to $1.3 billion.

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To support the local film industry, the International Film Fund was launched under the SMFP in the middle of 2009. This provides seed funding of up to about $5 million per movie. And among the projects selected is BAIT, which is a Singapore-Australia feature film co-production which will involve two Singapore companies that have expertise in 3D stereoscopic production and post-production services.

Such cross-collaborations provide useful opportunities for our local players to work with foreign production teams and to build up their expertise. We also have schemes such as the New Feature Film Fund, Short Film Grant and Script Development Grant, to support local projects that may be less commercially attractive, but have strong social and cultural relevance to Singapore. Films which have benefited from these schemes include the acclaimed film Ah Ma by Anthony Chen, which won the Special Mention Award at the Cannes Film Festival. MDA will study Mr Baey Yam Keng’s other suggestions on how to further enhance support for our local film industry closely.

Bringing companies and projects to market is something that MDA gives great attention to and this is important, because of the size of the local market. It is important that our local companies are able to benchmark themselves and their works against international counterparts. As a result of MDA’s promotional efforts, media content made in, by and with Singapore is now seen in 70 countries around the world. One such example is Dinosaur Train , one of the best-received series on the PBS Kids channel in the United States. It is a co-production between The Jim Henson Company and our very own Sparky Animation. One of the reasons they are working with Sparky Animation is because they use R&D that is developed by Sparky in Singapore that allows them to deliver the project with

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30% more efficiency than its closest competitor.

Mr Baey also talked about the work that we are doing with Korea and how we can use this to enter the Chinese market. We are also hopeful that we can work with China to produce works that would be seen and viewed not only in China and Singapore but in other parts of the world. There are opportunities, we are growing a certain reputation and we certainly have identified co-production as something that is useful in helping our firms and companies work in partnership with their foreign counterparts.

In addition, our locally designed and built Interactive Digital Media (IDM) applications and services are reaching the world. Last year, I spoke in this House about Garena, an online gaming service provider. Over the past year, it has more than doubled its user base to 32 million users in more than 200 countries.

Some of you may have heard or used buUuk, a smartphone application which uses location-based technology to help users find food and drink spots. Now you will say that for Singaporeans in Singapore we find our way quite naturally. But this is applied in many countries across the world. The last count is about 70 countries worldwide and it helps them identify places and make reservations in various cities worldwide. It was launched at the end of 2008 and buUuk was one of the first applications to implement augmented reality on the iPhone. It has over 100,000 users and was voted by CNN as one of the top applications to have while travelling. This is the brainchild of a local IDM company by the same name.

These are some examples of how our young companies are starting to make their mark on the world stage. Our efforts aim to develop a pipeline of such promising enterprises and to help the

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most successful reach the major milestone of 100 million users or $100 million in revenue. With the support of the National Research Foundation (NRF), MDA will continue to invest judiciously in the IDM sector, to spur cutting-edge innovation and produce world-class enterprises.

An upcoming development in the media sector is the switch over from analogue to digital broadcasting. This is a world-wide phenomenon and a number of countries have completed or are in the process of making this switchover. ASEAN has committed to do so between 2015 and 2020. We plan for Singapore to transit fully to digital broadcasting in line with ASEAN’s switchover. This switch will free up broadcast spectrum that will allow industry players to develop novel digital content and services. For consumers, switchover means that they can look forward to clearer and sharper wide-screen images and more innovative and interactive content.

The Government is reviewing how best to achieve a seamless transition from analogue to digital broadcasting and will provide further details in due course when we have firmed up our plans.

Let me now address the queries raised by several Members of the House – Mr Zaqy Mohamad, Mr Zainudin Nordin, Mr Arthur Fong and Mr Calvin Cheng, among others – on the state of competition in the local media market. Arising from the recent contest over the Barclay Premier League (BPL) broadcast rights, Members asked how competition in the pay TV market had impacted consumers. After this, I will speak briefly about the World Cup.

In general, competition in the pay TV market has brought benefits to consumers through the introduction of more content, better quality programming and service innovation. Today, consumers have access to about 179 channels compared

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to 99 channels prior to SingTel’s entry in 2007. They have a range of subscription options and over new platforms like IP and mobile. High-definition content is increasingly available and consumers can catch some Hollywood programmes as early as 24 hours after their US broadcast.

The pay TV market is still evolving. We have not reached a stable equilibrium in terms of subscription to the two pay TV retailers and MDA believes that the overall development of the sector is best left to market forces.

Nonetheless, I wish to assure the House that MDA will study competition issues carefully and not hesitate to step in where necessary. We share Members’ concerns with the proliferation of exclusive carriage agreements (ECAs), a commercial practice in the pay TV market that allows pay TV retailers to lock-in premium content. In order to lock out potential competitors and differentiate their content offerings, these retailers are prepared to pay a substantial premium for exclusive rights to content. This translates to higher content acquisition costs for the retailers.

Since SingTel’s entry into the pay TV market in July 2007, competition between SingTel and StarHub Cable Vision (SCV) has resulted in the doubling of ECAs from 64 in December 2005 to 131 today. This widespread use of ECAs between channel providers and pay TV retailers, as seen in Singapore, is rare in international markets. In view of this, MDA had commissioned a study on competition issues in the pay TV market in Singapore which concluded last year. Its review of international practices showed that some countries such as the United Kingdom and France were actively exploring measures to address the issue of competition for ECAs. The United

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Kingdom, in particular, has been studying the issue since 2007 and has to date not issued its final decision due to the complexities involved. Singapore, too, has to carefully consider the implications on commercial grounds as well as our international obligations.

The study also showed that the ECA-centric competition in Singapore since 2007 has resulted in both industry and consumers being negatively impacted. Firstly, content costs now constitute a significant percentage of pay TV retailers’ revenue, compared to international benchmarks. For example, SCV’s content cost to revenue ratio has risen from 40% prior to 2007 to 70% today. This is much higher than the average 40% for pay TV operators in most other countries including the US, UK and Hong Kong.

Secondly, Singapore suffers from a high degree of content fragmentation compared to other countries. Out of 179 channels today, only seven channels are common to both SCV and SingTel. An international benchmarking exercise that we conducted using a group of 16 popular channels showed that Singapore was the only country with exclusive arrangements for all 16 channels.

MDA’s review has concluded that this situation is unlikely to self-correct in the near future and steps need to be taken to address this market failure. Arising from its review, MDA will now require pay TV retailers to cross carry each other’s content which has been acquired exclusively. Let me explain how this will work when implemented. For example, if SingTel acquires a new channel exclusively, it will have to make this channel available to StarHub’s or SCV's subscribers on SCV’s set-top box and vice-versa. This measure will allow consumers to watch an exclusive channel through their preferred pay TV retailer, regardless of which retailer acquired the rights to that channel and they will access

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available content from a single set-top box. Consumers would no longer require multiple set-top boxes or switch retailers each time the rights of exclusive content change hands. This will facilitate greater consumer access to pay TV content and re-focus competition to other aspects such as service differentiation and competitive packaging.

This mandatory cross carriage measure will only apply to exclusive agreements entered into, on or after 12th March 2010, including renewals of existing exclusive agreements. It is not reasonable to apply such a measure retrospectively and, therefore, it will not apply to existing agreements such as the 2010-2013 BPL broadcast rights.

MDA has launched an industry consultation on the implementation details. This period of consultation will give pay TV retailers sufficient time to make the necessary adjustments and we expect mandatory cross carriage to be operationalised by the third quarter of this year.

Mr Zaqy Mohamed, Mr Arthur Fong and Mr Zainudin Nordin also asked whether the Government plans to intervene in the broadcast of the forthcoming World Cup. Let me just say that I am very happy that the World Cup comes around only once every four years. [ Laughter ]. We understand that SingTel and StarHub have recently made a new offer and negotiations with FIFA are still ongoing. This is a commercial matter that is best left to the two pay-TV retailers and FIFA to settle. I know time is running short, we are well into the second half and approaching injury time, but we will remain hopeful that the negotiations will reach a sensible outcome.

Let me now address Mr Calvin Cheng’s query on competition in the broadcast and magazine publishing sectors. Let me state upfront that to date,

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we have no evidence that MediaCorp has engaged in anti-competitive behaviour that warrants functional separation of its business units. But I will add that MDA will not hesitate to take action under the Media Market Conduct Code should MediaCorp be found to engage in such behaviour.

As mentioned by Mr Cheng, the House may also recall that we liberalised the free-to-air TV market a few years ago with the introduction of MediaWorks. Market realities showed that the local free-to-air TV market could not sustain both MediaCorp and MediaWorks and this led to their mutual agreement to consolidate.

The decision to intervene in the market must be taken after very careful study and due consideration. And I think when market failure is evident, that gives a strong basis for why the regulator needs to go in. The telecom market as Mr Cheng mentioned, British Telecoms (BT), is somewhat different from what we have here in Singapore in the media sector. BT was under investigation by Ofcom, the regulator in the UK, and they decided on functional separation which, therefore, brought an end to the investigation by Ofcom. It is a slightly different situation that applies largely to what they were doing in the telecom sector.

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MDA is mindful that a vibrant media industry should not depend on MediaCorp alone and we need to build up the capacity and capabilities of the independent production companies.

Our annual PSB funding to MediaCorp stipulates that the minimum number of hours of public service broadcasting be outsourced to these independent companies. This has increased from about 500 hours or 27% of local PSB hours in 2005 to more than 700 hours or about 35% of the local hours in 2009. Since

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2007, MDA has also started to commission public service programmes directly where production companies and MediaCorp's in-house production units compete to pitch programme ideas to MDA for funding support and MDA arbitrates and decides where to award this funding. Today, some 350 hours of public service programmes have been commissioned. Most of which were awarded to independent production houses. In addition, many TV and radio artistes are not directly employed by MediaCorp. Many of them who appear on MediaCorp's programmes are actually managed by artistes management companies and they are also available to independent production companies. MediaCorp also outsources many complementary activities such as dances or back-up singers and, overall, I believe that there is both business opportunities and healthy competition at the various levels of the media production value chain.

Likewise, Singapore has a thriving magazine publishing industry. Besides SPH magazines and MediaCorp Publishing, there are close to 100 other publishers in the market. We have no restrictions against publishing or distributing of magazines in Singapore as long as it is in line with MDA's content guidelines for publications. There are currently about 2,600 local and 5,500 imported publications in circulation in Singapore and SPH and MediaCorp account for about 1% of these publications although, I think, we were acknowledged that their publications have been pretty successful and, therefore, command a larger market share.

Mr Chairman, Mr Low Thia Khiang talked about the proliferation of services offered by SingPost, mentioned the service benchmarks and how some of these services may have impacted on its

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quality of service. I think we both agree, and he has mentioned it, that we should allow SingPost the liberty to expand the range of business offerings but we must do so without affecting the quality of service that it provides. SingPost has taken on board the feedback, it now has a separate queue for those who are on their premises purely for postal-related services and the rest of their customers are served on different queues.

In terms of quality of service, IDA requires that 99% of the mail collected has to be delivered by the next working day to areas within the CBD, and to the areas outside of the CBD, 98% must be delivered by the next working day. And these are comparable to other countries such as Hong Kong and the UK. As with delivery to the wrong address, to the wrong PO box, we will be happy to take on board some of these specific feedback and get SingPost to address them directly.

SingPost had also decided to move to a five-day week postal service. IDA had, after careful consideration, agreed to this proposal. This will allow SingPost to cap costs and to reap savings, and these savings will be shared in the form of discounted stamp booklets for consumers from 15th May 2010 and rebates for franked-mail customers for a period one year from 1st June 2010. To mitigate any impact of the revision of this collection and delivery on businesses and consumers, SingPost has extended its mail collection times by one hour on Fridays to 6.00 pm for areas outside the CBD and 8.00 pm for areas within the CBD.

Let me move on to ICT infrastructural investments. Several Members, Mr Zaqy Mohamad, Mr Zainudin Nordin and Mr Teo Ser Luck have also requested for an update on MICA's ICT infrastructural projects and the benefits they bring to Singapore. One key project is the Next Generation Nationwide Broadband Network or what we call the Next Gen NBN

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for short. This will provide ultra high speed broadband access of up to 1 Gbps per second islandwide. It will transform the way enterprises and consumers interact and access information be it for entertainment or commercial purposes. With high-speed network, together with our extensive international links to the multitude of submarine cables that land in Singapore, will position Singapore at the forefront of international high-speed broadband developments. The Government's investment is up to $1 billion and this is expected to capitalise some $3 billion in private investment from the Next Gen NBN operators OpenNet and Nucleus Connect. Rollout of this network is well underway islandwide, I understand they are ahead of schedule and Parliamentary Secretary, Mr Sam Tan, will elaborate on its progress and benefits later.

To Mr Zaqy Mohamad's query on competition and prices in the broadband market, the IDA has structured the Next Gen NBN to ensure the effective open access through structural separation for the network company and operational separation for the operating company and the RSPs. And so even though Singtel and Starhub are shareholders of the Next Gen NBN operators, the Next Gen NBN operators cannot discriminate against their downstream competitors in favour of their own affiliates. And, in fact, for the Net Co, where Singtel is participating, the lead in the consortium is actually Nexia, a Canadian company. IDA has also conducted an industry consultation with the view to include similar separation requirements in the regulatory toolkit for other players in the telecoms market. Given the open access structure and the prices committed by the Next Gen NBN operators, which are subject to IDA's price regulation framework, we expect wholesale broadband service prices to be competitive. IDA will also monitor service availability indicators closely to ensure that the Next Gen NBN operators continue

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to provide access to their wholesale services on equal basis.

Let me share with Members two initiatives that will strengthen Singapore's position as a telecoms hub. The first is the implementation of the neutral Non-profit Singapore Internet Exchange (SGIX). We expect the SGIX to facilitate highly efficient routing of Internet traffic. This should attract more telecom carriers, Internet service providers and content and game providers to hub in Singapore and use Singapore for the exchange of international Internet traffic and content posting. This will further reduce broadband access cost and improve our speed of access to content and services, which particularly benefits highly interactive applications like online stock trading and interactive gaming as well as bandwidth-intensive activities like cloud computing. It was incorporated in September of 2009 and it has since received strong support from the industry. Many of them submitted comments on how it will benefit them. Let me just pick out two: Starhub believes that the SGIX will attract richer and more overseas content into Singapore and OneNet Singapore shared that SGIX will enable faster and smoother delivery of high-speed broadband applications and services.

The second initiative is the establishment of a National Authentication Framework (NAF). Online transactions between Government, businesses and consumers are expected to rise, and we need a highly robust and trusted security architecture. Today, consumers often have to use different tokens to access the services of different operators who have deployed their own security systems and you may remember reading, a couple of days ago, problems that some of these tokens have. This has led to some inconvenience for users and varying standards for delivery of authentication services. IDA has worked closely with key sectoral regulators to establish the NAF

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which will enhance the security of online transactions through the deployment of a nationwide strong authentication platform. By aggregating demand at the national level, this NAF is envisaged to provide more cost-effective authentication services for businesses. Consumers can also look forward to the convenience of using a single authentication device to access multiple online services.

Mr Chairman, in conclusion, MICA will continue to build on our efforts to boost innovation and productivity amongst our enterprises and help them expand beyond our shores. We will also promote the competitive and conducive regulatory environment and invest judiciously in infrastructure. This will contribute to Singapore's global competitiveness and create a vibrant economy for the benefit of businesses and consumers in Singapore.

Cultural diversity and vibrancy

Dr Ong Seh Hong (Marine Parade): Sir, a city with people from China, Japan, Korea, India, Vietnam, Persia, Central Asia and many other parts of the world. Places of worship for Buddhism, Taoism, Islam, Christianity and Judaism. Ladies with blonde hair and blue eyes working side by side with locals in taverns, serving drinks, too, and entertaining customers with songs and dance. Is this Singapore? No. This was a scene from the city of Chang'an during the Tang dynasty more than 1,400 years ago. The Tang dynasty was the golden age of Chinese culture and economic development. It produced two of the greatest poets in Chinese history. One of them, Li Bai, was born in a town in Kazakhstan, some historians even believed that Li Bai was not a Han Chinese but a foreigner. An anthology of 310 poems is still the primer for many students of Chinese poetry. The Tang style of writing poems remained a

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dominant style until the earlier 20th century. Tang law codes remained in force until Ming dynasty revised it 600 years later. Printing and gunpowder were two inventions that profoundly affected the emergence of modern works. Why did the Tang dynasty prosper? I believe it was partly because of its open-door policy and tolerance attitude. Through the sea trade and silk routes, Tang dynasty not only benefited from doing businesses with the world but also gained many new technologies, cultural practices, contemporary items and new ideas. Songs, dances and musical instruments from foreign regions became popular in China. Even the foreign concept of chair – here I am referring to the inanimate object of chair for sitting and not the chair as in Chairmanship – was gradually adopted by the Tang. For hundreds of years, Chinese used to sit cross legged on the floor. Such was the openness of the Tang people to embrace new things.

Sir, the infusion of foreign influence during the Tang dynasty benefited and enriched China for more than 300 years. Singapore today is a cosmopolitan city. When I visited Astoria Park Condominium in my ward recently, I was greeted by Japanese, Koreans, Chinese, Finns, Russians, Swedish and even Africans. More than one million foreigners live in Singapore. They come with rich cultures and traditions of their own. I believe they add to the richness and vibrancy of our already colourful and diverse multi-culturalism. Let us seize the opportunity to tap on the cultural diversity of this million of people. Let us be the oasis of the world.

Kotan, a Chinese city in the present day Xinjiang, was one of the important oasis to the silk route traders. Marco Polo described Kotan as the most splendid city in the capital of the kingdom. Singapore sits at the crossroads of East and West. We were one of the oases along the maritime trade routes during the time of

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Majapahit empire when we were known as Temasek. When we became a British trading port in the 19th century, we were once again subjected to cultural influences of traders and migrants passing through. Sir, can we afford to close ourselves up? There is another lesson for us from Chinese history. China shut its door in Ming dynasty after Admiral Zheng Ho's seventh naval expeditions and remained so until the Ching dynasty. China ended up poorer for it. What happened to the city of Kotan I mentioned earlier? The isolationist policy of the Ming dynasty condemned Kotan to the desert elements eventually buried by the sand. Hence, we need to have policies of enhancing and tapping on our cultural diversity.

The Renaissance period was a cultural movement that profoundly affected the whole of Europe. It produced great artists like Leonardo Da Vinci and Michelangelo. With the diverse cultures found in Singapore today, we will be the ideal place for the start of a cultural renaissance for the region. However, whatever we do it must never be at the expense of any culture. We have a healthy respect for the equal importance of each and every culture here. It is a principle that we must not compromise on. We must embrace new cultures while preserving our existing one. Our pursue of cultural vibrancy must follow two guiding lights. First, it must foster unity and promote harmony amongst the various races. Second, we should explore the economic advantage of our cultural diversity. The economic dimension is important and it will ensure sustainability.

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Sir, while most people are supportive of multi-culturalism, there are some critics that claim that diversity is the enemy of unity. History and our experience have proven that diversity, in fact, enriches and unites a society. We should be committed

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to supporting the cultural heritage of Singaporeans.

Nevertheless, multiculturalism may sometimes pose challenges to some members of our society, particularly the young people. They may be confused or have conflict of identities when they are faced with these diverse cultures. Multiculturalism is more than just acknowledging people's particular heritage. It should also recognise that individuals can draw from different cultures in shaping their own identity.

I look to MICA and the Ministry's agencies to embrace and tap on the diverse richness of our many newcomers and make Singapore a culturally more vibrant society.

Media, arts and our cultural identity

Mr Calvin Cheng: Sir, MICA is the successor Ministry to the former Ministry of Culture, which was dissolved and re-named in 1985. Although the Ministry of Information, Communication and the Arts is a name that is technically detailed and accurate, it is nowhere as emotionally evocative as the Ministry of Culture. Sir, in order for our nation to be world class, it not only needs to have a high GDP, world-class infrastructure and be advanced technologically, it also needs to have a strong culture. Hard power makes for an economically developed country, but it is soft power that makes a nation truly great.

Sir, I am concerned with the cultural identity that Singapore will assume as it seeks to be a global city. As Singapore aims to be a global city, it is imperative that Singapore and Singaporeans are aware of what this means, and the cultural identity it will adopt as it takes the world stage along cities such as London, New York and Tokyo.

It is my opinion that, first and foremost, Singapore needs to recognise

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that being a global city does not mean being a Western city; globalisation also does not mean westernisation. Singapore must understand that no matter how globalised or modernised it may still be, it is still an Asian city. International recognition will not come from aping the West.

Nowhere is this more apparent than in my industry. Media, arts, fashion, advertising are the windows through which a country projects its culture. First, fashion. Every year at every fashion week, we hear declarations of the objective of Singapore becoming a fashion capital and of being a Paris of the East. At every Fashion Festival, Fashion Week or, indeed, any fashion show, most if not all the models used are Caucasians. I think this is ludicrous – we are an Asian city and there is absolutely no reason why in order to look international, the majority of models have to be Western. Again, I reiterate – international is not Western.

Why would tourists want to come to Singapore to see a replica fashion show trying to imitate the runways of the West? Do they also not realise that for an Asian city, a fashion event that is primarily Asian yet international would be more representative of our country and would generate more interest? It is the same with our print media, especially our fashion and lifestyle magazines. Most of the models used on the covers and inside editorials are Caucasians; empirical observation would also reveal that Asians are used infrequently. Even our own home-grown fashion magazines, Her World and Female , use mainly Caucasian models on their covers and in their editorials. It is obvious that, again, our media labours under the false impression that Western is international.

As we move on from the print industry to advertising, again, we see the same

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syndrome. I have here three print advertisements from two department stores, Robinsons and OG, and from a bank OCBC [ indicating ]. All were from yesterday's Straits Times . Here, we see the two local department stores using Western faces to push their fashion retail and a local bank using a variety of Caucasian models to urge Singaporeans to get a card they "must have".

Sir, forgive my frustration, and I find it hard to mince my words. This is just puerile. It is like being stuck in a time warp from our colonial days.

After speaking to some of my colleagues in the media and event industries, there is an assertion that the content-providers are catering to the tastes and mindsets of consumers who want to see Caucasian faces, given that they are seen to be more glamorous. I refuse to believe this, as believing this would mean that Singaporeans are still stuck with this puerile, colonial hang-up. Even if this were so, the vicious cycle needs to be broken, otherwise Singapore will never be a first-class global city, but only a second-rate "wannabe" Western city.

What is happening in our fashion and media is, I think, a manifestation of something deeper in the Singaporean psyche. Maybe we think as a young nation, we do not have our own culture and we need to ape others. I think this is false. We may be a young nation but the constituent cultures of our nation are old. The Malay, Indian and Chinese cultures are hundreds if not thousands of years old. And for almost 200 years since 1819, these cultures have interacted, together with European culture, to form a unique " rojak " that one cannot find anywhere else in the world. It may be a " rojak " culture we have, but it is ours, let us embrace it, let us be proud of it, because it is our own. We do not always have to look outwards for inspiration in

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our media, arts or fashion, as I truly believe there is enough richness and substance in what we already have inside us.

As we work towards being a global city, I think it is imperative that we create a first-class Asian and international city, and not a second-rate Western city, a pale imitation of the original. We can continue what I see as our current obsession with Western content, Western media, Western ideas and import more of these, or we can have a healthy blend of East and West that creates a uniquely Singaporean cultural identity. To do the former would be foolish and stunt our growth into a matured society. Only the latter route would offer Singapore and Singaporeans a chance to establish a permanent and unique role in the world.

I believe that MICA has an important role to play in all of this. It may have lost its name as the Ministry of Culture, but it is in fact our de facto Ministry of Culture. Sir, it is my opinion that MICA's role nowadays is greater as a facilitator and a regulator. This is not enough. It needs to be an influencer. Regulating the hardware and technology is a necessary but insufficient condition for building up Singapore's soft power. It needs to step up, step forward and start setting an agenda on how Singapore's culture can be grown, how we can draw from the richness of our " rojak " culture, embrace it, be proud of it, so we can truly grow as a nation, and create a Singapore that we have an emotional connection to. For at the end of the day, the ties that bind a nation are not material, but emotional and spiritual, and what will make Singaporeans stand up and be counted, what will make Singaporeans pick up a rifle and sacrifice his life, is not to protect our bank accounts but because we have created a way of life, a culture and a nation we want to preserve and protect. And even if we are small, let us not forget the great city-state of Venice of the ninth century

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which existed for 300 years as a state not only at the nexus of trade and commerce but also as a cultural influencer in the region. We have been well known to punch above our weight economically. I am convinced we can also punch above our weight culturally. MICA needs to influence, not just regulate, project not just protect, and in order to do this more resources are needed. I find it highly ironic to call for this in what is termed as a "cut", but I call for more funds to MICA to take on, or rather re-take its role as our Ministry of Culture. Otherwise, to echo the words of Ms Denise Phua, we can be a prosperous nation, but never a great one.

Promoting reading and writing

Ms Irene Ng Phek Hoong (Tampines): Sir, unlike the Singapore Arts Festival, the Singapore Writers' Festival has yet to register in the mind of the public as an important cultural event. We should refresh our Singapore Writers' Festival, and raise its profile to put it on Singapore's cultural map. It should be a festival as much about ideas as about writers. And the ideas should not merely be of the literary variety, but cover the range from political commentators and economists to newspaper columnists and historians.

The festival should also be a celebration about books and all that all goes into their making and enjoyment – readers, story-tellers, bookshops, publishers big and small. To reflect this, I would suggest renaming the festival to the Singapore International Book Festival. It should be a platform to showcase Singapore's thinkers and writers and expose them not only to Singaporeans but also to the region and the world, and vice versa. Newspapers, bookshops, publishers and libraries should also play an active role at the festival. We should not forget that all writers begin as readers. And readers sometimes begin as listeners.

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I must confess that I discovered the lyrical beauty of the poems by Edwin Thumboo only when I heard him read his work at the Edinburgh International Book Festival last year. Had it not been for that session, I would not have felt a connection with the poet, even though I am a strong supporter of Singapore writing. That is the magic of a book festival.

At our bookshops, Singapore books are generally not as well marketed as the international ones. It takes some effort to search out good local writing.

We should use the festival to make it easier, and to spark the public's interest in our own literary legacy. The festival should allow ample interaction between writers and audiences through debates and workshops. There should be an explosion of activities to encourage reading for pleasure by young and old alike.

My wish list for the Singapore personalities to be featured at such a book festival will include people like Lee Kuan Yew, Kishore Mahbubani, Tommy Koh, among others. All authors – each with a unique voice. Writers of cookbooks could be featured, after all everyone in Singapore is interested in food. Also humour writers – why should the book festival be all serious? That should get some buzz.

The buzz should extend to the heartlands. The community involvement will give the book festival a sense of purpose. To do this well, the festival needs a bigger budget.

I should declare my interest as a published author, although I have been speaking up on such issues for many years now.

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It seems to me that if our book festival wishes to not just survive but thrive, it needs to ask what to make it essential to the nation. I urge MICA to work at its transformation, so that our literary and intellectual scene can also be transformed.

The Chairman: I propose to take the break now.

Thereupon Mr Deputy Speaker left the Chair of the Committee and took the Chair of the House.

Mr Deputy Speaker: Order. I suspend the Sitting and will take the Chair again at 4.00 pm.

Sitting according suspended

at 3.42 pm until 4.00 pm .

Sitting resumed at 4.00 pm

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[Mr Speaker in the Chair]:

[Mr Speaker in the Chair]: Debate in Committee of Supply resumed.

[Mr Speaker in the Chair]

Head Q (cont.) –

Sustainability and talent development

Ms Audrey Wong Wai Yen (Nominated Member): Sir, before the break, Mr Calvin Cheng called passionately for MICA to be allocated more budget to carry out its work on culture. I reiterate that call but, firstly, I would like to welcome the proposed increased budget for MICA in this coming year's Budget. It is a sign that we are paying attention to the "softer" aspects of Singaporeans’ lives and our quality of life.

I would like to address one main theme – the sustainability of the arts, culture and creative sector. Specifically, I will talk about arts, culture and the media sector. The ESC has articulated our aspirations to make Singapore the "best

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home for talent" and an "endearing home". Arts and culture are a cornerstone to ensure that Singaporeans, no matter where they are, have a compass point for their identity.

Such aspirations to be an endearing home go beyond economic measures of success, to touch on the more intangible aspects of life. Indeed, to sustain the arts and cultural sector, we have to look beyond economic measures. We have come a long way since the Renaissance City report of 2000. It is now time for our policymakers to look towards deeply rooting arts and culture – including heritage, ethnic customs, cuisines, social histories, artistic works – in our people and society. To be a global arts city, we cannot simply import big foreign shows and blockbuster exhibitions; we must have pride in our own artistic works in order to anchor our legitimacy as a culturally vibrant city. The rooting of arts and culture cannot be mandated by Government although Government support is crucial for it to take off. It happens through the people – by the actions of citizens, artists and creative people; by scholarship and research; by presenting our social, cultural, and artistic history to the public; by continually creating new work; by encouraging our people to appreciate local content. The question we now face is, how can Government support facilitate such people’s activities so that they can have a deep impact?

To build up our cultural confidence, talent development, I would say, is crucial. The Budget emphasises continual training and education for our people. How can we translate education and training into the creative sectors? How does education and training help to sustain the sector and develop more and stronger local content in all areas – from visual art to film, the performing arts, design, music, fashion?

I would like to suggest a few strategies for investing in talent

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development. First, continuing support for arts groups, organisations, businesses, and individual creative talents – whether in the form of arts housing, provision of studios, direct grants, or programmes to encourage the appreciation of the arts by the public. Here, I have to declare my interest as I work in a non-profit arts company. But more than that, there should be support for risk-taking and policy-makers need to better understand this. There is always risk in content creation. I think Mr Baey Yam Keng had referred to this earlier. We cannot predict the success of a film or an art project. An example: back in 1997, who could have expected the TheatreWorks’ production of King Lear, which featured a cast from all over Asia, to make such big waves internationally? It was written about and studied by academics locally and overseas, and today it is still being discussed. In film, our funding schemes tend to be aligned towards investment with expectation of financial returns, and this could be disadvantageous to filmmakers with different stories to tell or alternative ways of telling them. Let us not be afraid to find a fresh paradigm to develop the capability of artists and arts groups in content creation. Mr Baey earlier also suggested a fresh idea – the idea of some kind of tax deduction for investments in non-commercial films. From what filmmakers tell me, a lot of Singapore films tend to be niche, non-commercial. In fact, they are artistic films and sometimes cannot be easily pigeon-holed into funding schemes that rely more on commercial returns.

At the same time, we should aim to create an atmosphere amenable for creativity and, here, censorship plays a part. While there has been a lot of liberalisation over the past decade, both local and foreign talents in the creative industry remain concerned about the long-term impact of an overzealous curtailment of content. Recently, concerns have been

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expressed by the arts community that censorship regulations are not sufficiently transparent and clear. It is therefore timely for the Government to hold a censorship review which was announced last year, particularly now when all kinds of content can be accessed online.

Another strategy to sustain the sector is to look at how MICA can best nurture and support arts groups, companies, individual artists, creative talents, and strive for the next stage of their evolution – in a similar way to how SMEs are being encouraged to develop their businesses and take the next big leap. For example, through the Renaissance City Funding, we already have some flagship arts companies, such as The Necessary Stage, Singapore Dance Theatre and TheatreWorks. What is the next stage of their development? And, how can we nurture more artistic and cultural leaders to take us to the future?

Cultural leaders would be important as Singapore strives to be a vibrant, global arts city. They may be artists, artisans, designers, business owners, managers. They create cultural capital, inspire others in the community, inspire the public and can be a focus for civic pride. They can also drive new initiatives to improve the sector. An example of a cultural leader cited in a research report that was entitled "The Artist as Leader" – the research was carried out by a British university – it cited the conductor Daniel Barenboim. The author said that he "demonstrated leadership in three ways". First, as a conductor, he leads musicians. As a pianist, he leads through the "sheer quality of his work". And, finally, he even leads in the socio-political-cultural sphere as a co-founder of West Eastern Divan, an orchestra of young musicians from Israel, Palestine and Arab countries, which builds bridges among the peoples of the Arab-

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Israeli world and offers an alternative model for dialogue in the region.

In our own backyard, we also have had cultural leaders, such as the late Kuo Pao Kun who inspired many with his dramatic works and teaching. Today, we have directors like Alvin Tan and Ong Keng Sen who are respected locally and internationally. Ong Keng Sen has demonstrated his leadership through programmes such as The Flying Circus Project, which creates dialogue among artists from east and west, between traditional and contemporary. He also led the setting up of Arts Network Asia, which supports inter-Asian collaborations. So how do we groom more capable people with the X-factors of passion, talent and the capacity to go above and beyond? What do we need beyond scholarships and bursaries? In this light, I would also urge the Government to trust the people who work on the ground, to give them the support to do what they do best.

Another way to sustain the practice is to invest in artists' research. Experimentation leads to new discoveries, and deepening knowledge leads to better quality work, and such research should be supported and it can happen in different institutions, in the education institutions, at an individual artistic level, and in private institutions like the Theatre Training and Research Programme (TTRP).

It is also important that we continue to create channels for young people to enter the creative sector from school, ensure they have access to continuing professional development and training, and, more importantly, keep our talents working in the sector. In the film and broadcast industry, I have received feedback that it is crucial now to develop talents for top-tier and specialised positions, such as cinematographers, editors, lighting grips and so on, and not just rely on the foreign collaborators in our

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co-productions. We should aim such that it is our professional standards that attract collaborators and co-producers from around the world.

There is also the challenge of sustaining arts and cultural businesses, such as commercial arts promoters, galleries, auction houses and so on. Currently, the cultural events field is dominated by the museums and the Esplanade. The Esplanade brings in artistic acts as well as commercial artists such as world-famous musicians. Because of their mission to make the arts accessible, the Esplanade does not charge market prices for tickets. Unfortunately, this creates an unbalanced playing field because commercial promoters cannot match the same pricing level. For example, at the Esplanade, the tickets for world-famous musician Branford Marsalis are priced from $40 to $100; in comparison, a private promoter bringing in a lesser-known musician, Imogen Heap, has charged tickets between $68 and $148. Private promoters bring variety to our landscape and offer more consumer choices, and I hope that the Minister could comment on this.

It is important for us to look at boosting the entire ecosystem of the cultural and creative industries, from training of talents to the sustaining of enterprises and carving a place for arts and culture in Singaporeans’ everyday lives.

We need to do this to promote local content and nurture the appreciation of local content among Singaporeans through the schools, through our festivals and through collaboration between different institutions, both private and public.

In promoting local content, the mass media also plays a large role. In this light, can we ask MICA to expand the range of KPIs expected from MDA-supported TV

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productions to emphasise creative quality and production quality rather than seeking direct financial returns? And just as importantly, can MICA help to improve the professional standards of the broadcast and production industry? How are those companies going to be sustained in the long term? I hope that MICA would consider a review of the broadcast landscape.

The most dynamic "arts cities" in the world thrive thanks to a combination of state, private, and people support, and I thank MICA for continuing to support the arts and culture in Singapore and I look forward to more enlightened policies.

School of the Arts

Mr Zainudin Nordin: Sir, after operating for the past three years at the temporary campus at Goodman Road, the School of the Arts' (SOTA) $145 million campus in Bras Basah was officially opened early this year. SOTA now has a huge advantage of being a purpose-built facility to accommodate all the art forms. I was told that SOTA currently has about 580 year 1 to year 4 students, 200 of whom are in the first year.

As art education is widely perceived as a niche in Singapore, can the Minister give us an update on the development and progress of SOTA? What are the unique and distinctive characters of SOTA that makes it different from other arts schools here and around the world? How does SOTA intend to achieve excellence for its programmes and the students that it produces?

Mr Teo Ser Luck: Sir, sometimes I feel that we do not have enough Singapore talents that dare to dream, be different, willing to step out of their comfort zones to pursue a passion or step into an unchartered territory. That makes the talent very scarce here and it is a scarcity. As such, these are precious gems that we

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cannot afford to lose if we find them. And I think SOTA is within that unchartered territory, trying to nurture these talents, and it is an excellent opportunity for students to mix studies and also to maximise their talent to the fullest. Such talents need time to nurture and their skills need time to hone. I had the first-time experience of watching a performance by a SOTA student. Her name is Sherry Low, she played the piano and she sang as well. The power of her vocals was fantastic. She reminded me of Alicia Keys. I thought that if all students in SOTA had that kind of talent and ability, I think we should help them to realise their dreams. I want to know from the Ministry what can we do to let them continue with their pursuits after they graduate from SOTA so that they can continue and retain their talent. Maybe, in the future, we will see one that wins a Grammy and also makes a good living.

Mr Arthur Fong: Sir, I am pleased to read how well SOTA is doing. The school started with its pioneer batch in 2008 with 139 students and it has grown to 586. Feedback that I get from parents and students who enrolled in SOTA are that they are seeing less of their children, less of their kids. This is not because of the workload that is keeping the students back in school. It is because of the intense passion from both the students and the instructors that provide that "mojo" or motivation that keeps them back in school for longer hours.

Sir, there is a waiting time to get into the school and some have likened it to a queue for a flat. For the 200 places for the first year, a thousand students auditioned for it. I understand that it is not the intention of SOTA to be like a machine to churn out professional artistes. Perhaps only about 2%-3% of the cohort will go on to be professionals in their chosen art form. The other

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students will continue their education journey in universities or polytechnic, with a strong base in the arts. I would like to ask MICA the following: what is SOTA's progress towards preparing the majority of the students via the choices of classes for the IB Diploma? Can the Minister also tell us or elaborate on the pathway of the SOTA graduates in regard to how they can further their training and their studies? Is SOTA tying up with NUS or NTU to have degree courses to allow the students to draw on the arts training base that they have gained at SOTA? This would go far towards adding to the professional base for the arts industry. Would SOTA also consider taking in mature students who otherwise would have missed the opportunity of attending the arts school?

4.15 pm

RAdm [NS] Lui Tuck Yew: Mr Chairman, I thank hon. Members who have spoken for their strong support in the development of the arts and culture in Singapore, and because the Minister for Finance has just come in, I also want to thank Members who have spoken very loudly that MICA should be given greater financial support [ Laughter ]. Thank you very much.

In reponding to the Members, I want to eleborate on how arts and culture has and can enhance Singapore's liveability and contribute to our vision for Singapore to be an endearing home and leading global city in the heart of Asia.

To become a leading global city, we need to move beyond our established strengths and economic development, governance and infrastructure. One area where we need to further improve on, when compared to the top tier of global cities, is in the arts and culture sector. To this end, the Economic Strategies Committee have recommended that we make significant investments to better our

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cultural landscape, especially in the software aspects.

Mr Chairman, MICA will focus on three areas in 2010. First, we will conduct a strategic review in the development of the arts and culture. Second, we will invest more in distinctive content creation and capability development, particularly in the traditional and literary arts. And, third, we will broaden and deepen community engagement.

The seminal work of the Advisory Council on the Arts and Culture (ACCA) in 1989, led by then Deputy Prime Minister Ong Teng Cheong, mapped out the blueprint for the development of the sector. It made a number of key recommendations – improvement in organisational structures to the education system, to infrastructure and facilities as well as greater promotional efforts for the arts and culture. New and upgraded museums, the Esplanade and the new library, are among the most tangible outcomes of that study, but it is more than that. It has helped us better appreciate the importance of the arts and culture, to broaden our minds and deepen our sensitivities, to improve our overall quality of life, to contribute to a more culturally vibrant and gracious society and to strengthen our social bonds and emotional rootedness.

Over the years, we have initiated a number of plans to bring to life the vision of the ACCA. More recently, these were encapsulated under the series of Renaissance City Plans (RCP) from the year 2000. Its key strategies were directed towards the focused areas of developing distinctive content, shaping a dynamic ecosystem and growing an engaged community. The RCP contributions were felt beyond our society as it also sought to internationalise our arts and cultural activities and to explore arts business as a new growth opportunity. The RCP was supported by a number of

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initiatives like the Heritage Industry Incentive Programme, the Arts for All Community Engagement Plan and the Arts Creation Fund to grow Singapore's trove of high quality, distinctive, artistic content. All these efforts have contributed to the development and increased vibrancy of our arts and cultural sector. Today, we have a daily average of 80 arts and culture related activities, 2.5 million visitors to our national museums and 1.5 million ticketed attendance at arts events annually. The number of Singaporeans attending at least one arts event a year has increased from one in three in 2005 to two in five in 2009. And the number of Singaporeans who are learning or taking up an arts activity in their personal time or volunteering their support for the arts has doubled from just one in 10 in 2005 to two in 10 in 2009.

Sir, from time to time, a thorough re-evaluation of our strategies is useful as we aim for the next quantum leap to distinguish our arts and culture from that of other emerging global cities. With this purpose in mind, MICA, together with our partners from the private and people sectors, will embark on a major arts and culture strategic review for Singapore's cultural development. Our overall goal is for twice as many Singaporeans, from 40% to 80%, to attend and benefit from at least an arts and cultural event per year by 2025. We also want to encourage participation by Singaporeans in the arts from the current 20% to 50% over the same timeframe, and this will include learning or taking up an arts activity in their personal time or volunteering their time and their talents in support of the arts.

The main focus of this strategic review will not be on major infrastructural development although there is still some work to be done in this area. Rather, the Steering Committee will take the broad recommendations outlined in the Economic Strategies Committee report,

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crystallise concrete strategies and propose major initiatives to realise the vision. For example, it will recommend the place making efforts necessary to develop socially and economically vibrant cultural precincts. It will also identify concrete strategies to mould distinctive peaks of excellence that would differentiate and distinguish Singapore as a global city and chart comprehensive talent development pathways that could nurture the creative capacity of people at all levels, from casual practitioners to star talents.

Let me, first, thank Ms Audrey Wong for her thoughtful comments and suggestions as to what more MICA can do to nurture and grow our artists and arts groups. I will try to address some of her points here.

I think over the years, we have grown a base of established and up and coming artists and arts groups. A number have started to gain international repute, some of them with the support of National Arts Council (NAC). Going forward, the NAC will refine its current support schemes to develop a suite of capability development tools that will be more targeted to the varying needs of artists and arts groups according to their stages of development. But we also need to look beyond the individual artists and the individual art groups to see how we can groom organisations, like professional and industry associations, and what roles these can play in developing and professionalising the sector through research, through training and collaboration, because I think it is extremely difficult for some of these groups and individuals who are already so busy on a day-to-day basis to put time aside to look at research, to look at how they can collaborate and build capacity across the industry.

Ms Wong spoke about talent development and allowing room for

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experimenting and risk-taking. I agree with her. The NAC launched the Arts Creation Fund in 2008 to encourage artists to forge new artistic frontiers, to engage in experimentation and risk-taking without excessive financial pressures. To date, some 20 projects by established but also young, emerging artists and writers have been supported.

The NAC has invested heavily in capability development and training. In 2009, grants increased from $1.5 million to $2.5 million. Eighty-three recipients in 2009 benefited from $1.6 million worth of local and overseas scholarships and bursaries, including post-graduate scholarships for continual education and training. There are also other programmes, such as the International Arts Residency scheme where our artists can hone their craft at the prestigious Künstlerhaus Bethanien in Berlin and the Parisian theatre school, Ecole Phillippe Gaulier, amongst others.

Many past beneficiaries of these schemes – Lee Huei Min, Noorlinah Mohamed, Donna Ong and Brian Gothong Tan – have gone on to make valuable contributions and continue to do so to the Singapore arts scene. Overall, these schemes have been important in developing thought leadership, some research talent, capabilities for discourse and criticism, and raised the overall quality and professionalism of practitioners and those in supporting industries.

We also need to make sure that we have sufficient capacity in the technical and managerial spheres. To meet the need for professional arts managers, NAC partnered the Workforce Development Agency (WDA) on the Professional Conversion Programme for arts managers in the middle of 2009. NAC will build on these initial efforts and work closely with partners like the WDA, arts organisations and educational institutions to provide more opportunities for continuous

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professional development across the arts sector.

Ms Wong is right that the sustainability of this sector requires an ecosystem, not only of artists and arts groups, education institutes and researchers, but also for-profit arts companies. These for-profit arts companies play an important role in the long-term sustainability of the sector and contribute much to other economic sectors, such as tourism, entertainment and hospitality. I will speak on the role of the Esplanade a little bit later in the reply. But just to continue with this for-profit organisations, they help provide diverse career opportunities and facilitate skills transfer between the non-profit and for-profit sectors. It is therefore important that we have an environment that is conducive to the growth of these companies. To this end, the recent tax initiative by the Finance Minister to reduce Withholding Tax will help and NAC will work with the Economic Development Board through the City Alive! initiative to better cultivate such companies and to facilitate linkages between the non-profit and for-profit sectors.

Let me move on to to speak about community engagement. Dr Ong Seh Hong commented that new migrants bring with them diverse and colourful cultures, arts and traditions, that we need to remain open, that we need to have the principle of including them even as we open our doors, and that is the right thing to do because they can contribute, as he has said, significantly toward building a culturally vibrant and engaged Singapore.

Such new cultures, arts and traditions add colour and vibrancy to our society and help Singapore become a distinctive global city. Over the years, some of these migrants who are arts practitioners have integrated with the local community and enriched our local arts scene with their experience and expertise. Brian Seward is

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one example – he is the Founding Member and Artistic Director of I Theatre Ltd. Liu Bin is another one – he is the composer and director of Liu Bin Cultural Arts. Seward came to Singapore, I think, about 15 years ago, he used to be Head Drama Examiner of the schools in the UK, and he has been in Singapore over the last 15 years teaching drama, writing, directing. He puts together family-oriented plays that are very well received, about three to four plays each year, and he is someone who certainly has enriched the cultural scene in Singapore. Liu Bin is a graduate of the Shanghai Conservatory of Music. He has been in Singapore for more than 18 years already and is currently the conductor of many of the orchestras in our schools.

The NAC plays an active role in promoting social cohesion, strengthening community bonds and mutual understanding of diverse cultures through the arts. Under the NAC's Arts for All programme, examples include the Arts Community Tours, which is a touring programme which brings performances and exhibitions to the various constituencies. It also puts together the District Arts Festivals, which is a collaboration between People's Association (PA), Community Development Councils (CDCs) and NAC, and this creates opportunities for interaction between communities and are showcases, on the ground, for a variety of artistic talents. We know through anecdotal accounts that some of these new migrants are already involving themselves in these arts and cultural activities at the grassroots level. NAC will continue to work with community partners to generate more opportunities for increased community participation and integration.

This Arts for All programme that was launched in 2008 has so far reached out to more than 200,000 participants, many of them first-timers, through more than

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400 activities. I understand that drumming and ceramic workshops alone attracted 800 senior citizens. Such interactive activities help also to bring artists to the community, allowing the community on the ground a chance to appreciate their works. And so for 2010, we are continuing with this programme and some 20 arts programmes have already been planned.

Our outreach to the youths is equally important and it is through avenues like Noise Singapore, which is a platform to showcase young talents. Because Noise Singapore is also a partner of Singapore 2010 Youth Olympics Games, our youths are excited to have the chance to be seen and heard by an international audience come August.

Heritage institutions are yet another avenue where we reach out to local communities and connect with new migrants and residents to facilitate their integration into Singapore society. Institutions like the Malay Heritage Centre, the Sun Yat Sen Nanyang Memorial Hall and the upcoming Indian Heritage Centre are important. They help showcase and promote understanding of Singapore's diverse multi-cultural heritage and present Singapore's cultural and historical links to the wider region. Building connections, integrating new residents in our midst and fostering cultural understanding between different communities will widen the common space for all and help to strengthen our Singapore identity.

4.30 pm

Another example is the annual Singapore Heritage Festival that is organised by NHB to celebrate our nation's rich multicultural heritage. It draws Singaporeans from all walks of life, certainly including new citizens. And many have been forthcoming with their

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support. But better than that, it provides opportunities for new citizens to join long-time residents in performing at the various hubs, and helping out at the many exhibitions and activities organised as part of the festival.

As part of MICA's effort to broaden and deepen community engagement in the appreciation of the arts and culture, I am pleased to announce that beginning in June 2010, citizen and PR students will enjoy free entry to permanent exhibitions as well as discounted rates for special exhibitions in the museums under NHB. We hope that, as is the example in other countries, this will inculcate an early appreciation for heritage and make the museums more accessible to the young.

Ultimately, one tangible outcome of our various outreach efforts is a more engaged community. In an engaged community, individuals and organisations will seek ways to come forward to get involved, to volunteer, to contribute. To help drive MICA's efforts in this regard, the Arts and Cultural Development Office recently launched "give2arts.sg", a cultural philanthropy portal that makes it convenient for the public to lend support to arts and culture through donations, big and small, and, in particular, for Singaporeans to volunteer in support of a range of arts and cultural programmes. And we urge more Singaporeans to come forward to do so.

Mr Calvin Cheng, Ms Audrey Wong and Mr Ong Seh Hong have spoken on our cultural development and its part in building up Singapore's national identity. The two are symbiotic. A nation's culture and its expression through the arts and other creative fields help shape its sense of identity and its distinctiveness.

Ms Wong also asked the Government to do more in developing and furthering the appreciation of local content and expressed that this requires a more

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pervasive approach across multiple platforms. We do this by commissioning and featuring local creators and content at domestic and international platforms. International platforms are important because they spur our artists to higher standards. They build our reputation as a global arts city. For example, visual artist Ming Wong received a Special Mention award at the 53rd Venice Biennale. At the invitation of the Edinburgh Festival 2009, the Singapore Showcase, which featured many of our artists including Mr Edwin Thumboo, as mentioned by Ms Irene Ng, and a number of our arts groups, was favourably received and I think was well reported on. Our next Showcase will be in Paris in October 2010 and it will be anchored by the Peranakan exhibition at Musee du quai Branly. While our museums have begun to lend artifacts and export exhibitions in recent years, this exhibition is the first at a major western museum, showcasing the Peranakan culture of Singapore to the French audience.

Building on the success of the Singapore Arts Festival 2009, we will present the 2010 Singapore Arts Festival as a "People and Creation Festival", to bring focus to the Festival as a platform for more local talents to develop and showcase new works. Among the many highlights, the 2010 Festival will feature new interpretations of seminal works by Singaporeans over the years. This will strengthen our artistic heritage and cultivate a new generation of art lovers. In particular, I should mention that Margaret Chan in Stella Kon's Emily of Emerald Hill is so far taking the lead in terms of advance ticket sales. About 50% of the tickets have already been sold. We exploit the possibility of putting on more performances but because it is a mono-drama of one-and-a-half hours, it is not easy for her to do so. But, it shows that there is a desire for us to re-visit these seminal works as well as for us to create new works that one day will also find the same resonance with our people. And

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this, indeed, is what the NAC and the Singapore Arts Festival will hope to do in the years to come.

In the field of media, the MDA promotes and supports made-by-Singapore productions through collaborations with international agencies and broadcasters. The quality of our made-in and made-by Singapore content is evidenced by its success in engaging and entertaining audiences. I mentioned "Dinosaur Train" earlier – it is now the number one show on PBS Kids in the US. Even before the cameras started rolling, our Young Artist Award winner Boo Junfeng's feature film "Sandcastle" was signed by Fortissimo Films, a global distribution leader that helped Wong Kar-Wai to become the renowned Asian filmmaker he is today. Increasingly, our media talents are recognised both at home and abroad.

Mr Calvin Cheng highlighted the important role that the print and broadcast media play in shaping our cultural identity. I do agree with him. But he also expressed concern over the excessive use of Caucasian models in our magazines and fashion shows.

He is right to say that we need to strike a balance and we have to send the right signals. At this stage, I believe we can be quietly confident of our cultural identity. Singapore's place in history and in the future at the heart of a thriving Asia has always been as a confluence between East and West, multi-cultural in its makeup and cosmopolitan in its outlook. As we take steps to strengthen our position as a global city, it is wise not to be too inward-looking. Our doors are open; we welcome the rest of the world as we hope that our artists, designers, models, filmmakers and others will be welcomed overseas.

Singapore has a thriving publishing industry – I mentioned it in my earlier

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reply – about 8,000 titles both locally and imported ones. And these magazines have an international audience. As long as they do not breach the content standards set by MDA, it is best to let editorial judgment and business considerations determine how publications best cater to the tastes of their readers.

As for the presence of more local faces at fashion shows, events like the Singapore Fashion Week are international in outlook and draw buyers from around the world. While we can encourage them to engage more local models, the international nature of the show would make it impractical that we determine a specific ratio. The truth is that we are exposed to a significant amount of western influence – books, movies, TV programmes, theatre productions, etc. Our own Singapore Idol show is more well-received and more watched locally compared to the American Idol programme. And so we have own faces but even then they sing western songs. So it is not entirely possible, I think and I know Mr Calvin Cheng is not calling for that but we must be mindful that the influences come in many subtle ways and different ways, and we should work hard to strengthen our culture to promote it both at home and abroad.

The Esplanade, mentioned earlier, does its part in this area. Its programming focus has been to cultivate interest in Asian culture through festivals such as Huayi (Chinese festival of Arts), the Pesta Raya (Malay) and the Kalaa Utsavam (Indian) so as to strengthen our communities' sense of cultural identity. In fact, the majority of performances presented by the Esplanade are by local groups. Of ticketed performances in FY2009, 321 or 68% were by our local groups and for non-ticketed performances, about 1,500 or 81% were by own local groups.

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The Esplanade knows that our cultural scene is enriched by a diverse mix of performances and artistes. It is increasingly a premium destination in Asia for world-class international acts as touring groups now ask to perform at the Esplanade. It also lends support to many local groups. For example, it collaborated with the Singapore Repertory Theatre to make possible their first large-scale work with the Royal Shakespeare Company's "King Lear" and "The Seagull" in 2007, followed by The Bridge Project – "The Winter's Tale" in 2009. And the latest in this series is "The Tempest" which will open in April. This initiative by the Esplanade, which has to be exercised judiciously, will help local companies shoulder the risks of presenting large international productions and give them valuable exposure to international presentation standards and expertise.

Moving forward, we are committed to further strengthen the opportunities available to our artists and arts groups to draw on our cultural and artistic traditions as well as leverage the power of the written word to create works that reflect our identity. This year, the NAC will launch the Traditional Arts Plan and the Literary Arts Plan. Both will see a doubling of annual Government investment over the next five years.

For traditional arts, this will amount to $23 million. We will focus our efforts to professionalise traditional arts groups and artistes, support the development of quality content, and ensure that traditional arts are accessible to the community. To support this endeavour, we intend to designate the Telok Ayer Performing Arts Centre to have a greater focus on traditional arts.

Let me now touch on the literary arts. Powerful, incisive language brings essential truths to life. It conveys depth of meaning, passion. It resonates, it spans time and cultures and it has the capacity

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to move the spirit and to stir the soul. And so a strong foundation in the literary arts be it in poetry, drama, essays, novels or prose, is a powerful tool for more creative expressions in our everyday lives. For example, it is a key ingredient whether we are telling a fascinating story, composing an appealing song or writing an interesting script.

The Literary Arts Plan, with $24 million to support it, aims to develop writing talents to enrich our cultural scene and give voice to our national identity. The Singapore Writer's Festival, a key platform under this Plan, will become an annual event from 2011. And I will ask the champions of the Writer's Festival to consider carefully Ms Ng's suggestion for a more suitable name to better reflect its scope and objectives, going forward.

I agree with Ms Irene Ng that a holistic approach is necessary to promote the literary arts. This promotion must go hand-in-hand with a love for reading, a point that she also made very eloquently. We have regular story-telling sessions at the public libraries and outreach programmes like READ!Singapore and the 10,000 Fathers' Reading event.

The new Literary Arts Plan will be a comprehensive plan to cultivate greater interest in literature among the young, promote literary arts as a key tool to strengthen creative expression, grow our pool of writers and develop a robust publishing industry. The NAC will invest in writers through differentiated and targeted capability programmes, grow intermediaries and distributors through suitable incentives and increase the profile of Singapore writers, publishers and literary works both nationally and internationally.

Mr Arthur Fong, Mr Teo Ser Luck and Mr Zainudin Nordin have requested updates on our efforts to nurture young

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talents through the School of the Arts (SOTA). SOTA commenced the current academic year at its permanent campus at No.1 Zubir Said Drive, next to the Cathay Building. As they have pointed out, they now take in students from Years 1 to 4, a total of 586.

SOTA is well received by both parents and students. Last year, 1,000 auditioned for 200 places in the annual intake. And admission at Secondary 1 is through the MOE Direct School Admission (DSA) process. We accept older individuals seeking to transfer from their secondary school into SOTA and they may do so after auditioning at the SOTA Talent Academy which is held every March and June.

SOTA offers a six-year programme, comprising four years of school-based curriculum leading up to the International Baccalaureate (IB) in Years 5 and 6. The first cohort is expected to take their examinations in 2012. And because the IB Diploma is an internationally recognised qualification, SOTA students, upon completion of the IB, can expect to enter higher institutions of learning of their choice – be it arts conservatories to further their artistic development or universities in Singapore or abroad.

SOTA's unique proposition lies in the pedagogy which makes meaningful connections between the arts and academic subjects to provide an enriched learning and teaching experience for those who are talented in the arts. The distinctive curriculum and learning environment have attracted highly-qualified teachers with teaching and industry experience, and prominent artists, into SOTA's arts faculty as well as full-time practitioners who teach on a part-time or adjunct basis, such as Cultural Medallion recipient Lynnette Seah. In addition, SOTA has established partnerships for faculty and student exchanges, curriculum development and

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assessment with established overseas arts institutions such as the Chicago Academy of Art (USA) and the Shanghai Conservatory of Music Middle School in China.

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Sir, in conclusion, let me reiterate that MICA is committed to nurturing our talent and ensuring the sustainability and vibrancy of our cultural landscape. We will work closely with the arts community, the private and people sectors in the upcoming Arts and Culture Strategic Review. This will prepare Singapore to make that quantum leap towards the next phase of cultural development, and become a leading global city and endearing home for Singaporeans.

New media literacy and cyber wellness

Mr Baey Yam Keng: Sir, the media landscape is undergoing a paradigm shift today. Traditional media like radio and television have been with us for decades while the newspaper has been around for centuries. We have a fairly good idea of what they are, what they do and how to react to the content. Even more importantly, in the case of Singapore, the Government has laid the foundation and is maintaining the system for a responsible and credible mainstream media scene.

Today, the new media is vastly different. Their content spans an enormously wide spectrum from highly desirable to highly undesirable. No one, who wants to play the role as a custodian of morality and norms, be it parents, teachers, regulators or the Government, is able to control the content on new media to any significant extent. The media consumers today, who are used to the safe and calm waters of mainstream media, have only themselves to depend

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on when navigating and riding on the new media wave.

As we look back on the way in which we rolled out ICT in Singapore, we can see that we have paid much more attention to spreading the use of the technology, that is, functional media literacy. There is relatively very little done on how to use the technology judiciously, that is, developing critical new media literacy. The first attempt to introduce new media critical literacy was made via the Parents Advisory Group for the Internet (PAGi), nearly 20 years after the first national plan was announced to harness information technology. PAGi was also focused on prevention. However, we need to move beyond prevention and prohibition to navigation and immunisation.

We cannot escape the onslaught of undesirable material. We should not pretend that we can control it or give the signal to our citizens that the State can and is controlling it.

New media critical literacy should become part of our school curriculum. In addition, parents should be guided on how to navigate through and negotiate with undesirable material. New media critical literacy is also not confined to coping with pornographic material.

There are all kinds of undesirable materials including hate speech and subversive speech. There is also a huge amount of unreliable information, both misinformation and disinformation.

A recent example of malicious disinformation was the blog post claiming that Minister Mentor Lee had suffered a serious heart attack. People of course knew immediately that was groundless when photos of the Minister Mentor in London were published in the papers a few days later. Examples of misinformation include emails circulating urban

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legends like how you can cook an egg by placing it between two cell phones and that ATM PIN numbers keyed in reverse notifies the Police. And then there are also financial scams, bank account phishing, sexual grooming of children and intrusion of privacy of personal information.

An equally important aspect about new media is their interactivity – something that was virtually non-existent in the old media. This is what makes new media consumers "prosumers" – they produce as well as consume content.

This interactivity takes place in all forms and it is from the judicious use of the interactivity that we can gain the full benefits of the new media. It requires new skill sets and a new approach to media use.

New media literacy should not be aimed only at the children or youth but also at the adults. The digital divide actually exists more among the adults than between adults and the young.

From an e-governance point of view, adult literacy is even more important as the Government would like to engage our citizens through its e-facilities in a variety of ways. Likewise, the citizen too would like to make use of these e-facilities to maximise interaction with the State. Thus, there is mutual benefit in developing new media literacy in the whole population.

Hence, I would like the Minister to elaborate on the plans to promote greater new media literacy among the population and how we can equip our people of today to prepare for new media for tomorrow.

Addiction to computer gaming

Mr Arthur Fong: Mr Chairman, Sir, spending too much time on the computer that is not related to school work or studies has been shown to affect the

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grades of our children. This is a fact shown by both our own local newspaper survey as well as many overseas studies.

Singapore is probably one of the most wired countries in the world. Computer literacy for our children begins as early as Primary 1. In fact, I visited a school a few years ago where the school has in its curriculum to teach kids as young as Primary 4 to be competent in basic web design.

Our intention of exposing our children at a young age in school to make them comfortable with computers is part of our knowledge-based economy. But, Sir, the downside of early introduction to computer work is that our younger people spend too much time on the computer. A survey showed that one in five teenagers spend up to 40 hours on the computer a week and this is near the average work hours per week for many adults and I wonder whether these children or these teenagers do find enough time left over for study or for some time outside for vitamin D.

The school grades are often not the only downside to gaming addiction as many youths lose touch with other aspects of their routine. Many are so preoccupied that they are late for school, commit truancy, miss examinations and eventually drop out of school. Youths who spend huge amount of time engrossed in their computer often also have problems relating to their parents. This communication problem is worse if they are from single-parent homes. It is a time bomb of a problem if left unattended.

Sir, I am delighted to note that the Government has set up the Inter-Ministry Cyber Wellness Steering Committee. I am equally happy to note that the Government is co-funding projects between the Government agencies and people-private sector organisations to organise programmes to deal with this

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issue. I ask MICA for an update on the collaboration between the Government agencies and the private sector on cyber wellness for our youths. What are the learning points so far? I have also read with concern from the press release that this initiative is not covering an area of youth cyber addiction. I must stress that this is an area of concern in helping youths deal with the addiction. I therefore ask MICA if helping youth computer addiction is deliberately left out and, if yes, why.

Censorship Review Committee

Mr Christopher de Souza (Holland-Bukit Timah): Mr Chairman, Sir, in September last year, the Censorship Review Committee (CRC) was set up to conduct a mid-term review of content issues in broadcast, films, videos, publications, audio materials, the arts and new media. I would expect that new media will be the area posing the greatest challenge.

The reach of the Internet is a plus. Now cellphones offer Internet access as well, at relatively affordable prices. Therefore, even school children can access the Internet easily, anytime, anywhere. However, our young children may lack the maturity and judgment sense to discriminate good content from misleading or even harmful content.

I therefore agree with the position of Mr Baey that there is desirable but also very undesirable content on the Internet. We need to guard against the latter. Hence, will the Minister share with us how the CRC will act on the feedback of parents who want Internet filters, particularly filters against pornographic sites or sexual grooming, to be built into our systems given that the parents themselves are unable to police the Internet to protect their children from such sites? Also, there has been feedback

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that pornography should not be shown on television or sold here, for example at bookshops or petrol kiosks, like what is seen in some countries. Will the Minister assure us that these basic parameters will not be breached?

TV programmes

Mr Chiam See Tong (Potong Pasir): Sir, I would like to point out that there are too many TV shows on food shown locally and internationally. I would suggest that the number of programmes on food be cut down and that the content of food be hygienically presented. Sometimes they even use TV stars and celebrities to endorse their food. These shows are even carried out during prime time viewing on Channel 8 and Channel U.

New and repeated Korean and Taiwanese dramas are also not spared on prime time, late night Channel U and Channel 8. Scenes like feasting, slapping, screaming, cat fights, caustic remarks, scheming, revenge and getting even with each other are shown plot after plot over 100 episodes and these are addictive and have an adverse influence on Singaporeans. I would suggest that these shows be replaced by some local Malaysian shows. By doing this, we can directly help to foster relationship and understanding between our neighbouring countries. It is also a small step towards promoting economic union between Singapore and Malaysia which I have advocated. TV shows relating to education, science, history, travel, famous people, humanitarian work and some community films should also be included.

In my opinion, too much time is given for advertisements in between shows which generates a lot of revenue for MediaCorp.

Use "Vasantham" for Indian integration

Mr Viswa Sadasivan (Nominated Member): Vasantham became a dedicated

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Tamil language TV channel in late 2008. A key objective was to increase viewership and loyalty, in the wake of competition from India based channels on SCV.

While this seems to have worked to some extent with homegrown Tamil-speaking Singaporeans, it appears that Indian PRs and new citizens are still drawn to India-based TV channels. For non-Tamil speaking Indians – both new immigrants as well as home grown Singaporeans – India-based Hindi channels such as ZEE TV and Sony Entertainment appear to be the draw.

This does not augur well for efforts to integrate the ethnic Indian community in Singapore. Vasantham can play a stronger role in engaging all ethnic Indians, especially the new immigrants.

Firstly, there should be more programmes designed to reach out to the new immigrants. This could be through themes that strike a chord, or formats, such as quiz programmes, that seem to fascinate immigrant Indians.

Secondly, Vasantham needs to proactively seek out talent amongst new immigrants. By involving some of these highly talented individuals, not only are we engaging new immigrants, it will be a shot-in-the-arm for the quality of local programming.

Thirdly, I suggest half-hour English language programming three times a week on Vasantham – these slots will carry talk shows, interview programmes and info-educational programmes that will bring non-Tamil speaking ethnic Indians into the loop. The issues discussed will be relevant to the Singapore Indian community. And this is much needed as presently there is no such common TV space to address all members of the Indian community as a whole. If we do not drive initiatives such as this, the cultural and language divides

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could deepen with the non-Tamil speaking Indians watching more India based Hindi channels and not relating to the majority Tamil speaking members of the community. This will not happen naturally – the encouragement and impetus need to come from Government.

Gracious city

Mr Zainudin Nordin: Sir, Singapore aspires to be a cosmopolitan and vibrant global city. To achieve that status, we also need to be a gracious city that would be the talk of many.

Graciousness is not easily measured and quantified in economic terms but it is, nevertheless, vital as we build our social capital. What is our Government doing to continue to uplift the graciousness of Singaporeans, especially when more visitors are coming to Singapore after the opening of the two Integrated Resorts (IRs) and with the major events like Singapore F1 and the Inaugural Youth Olympic Games in 2010?

Sir, we know that kindness and gracious behaviour are best learned through examples. How is the project "Gracious" faring since it began last year? Is it effective? What are other new methods can we adopt to ensure that Singaporeans have endearing values?

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Sense of national identity

Mr Zaqy Mohamad: Sir, in Singapore’s history, even pre-Independence, we have faced many events that helped shape our sense of identity as a nation. These events have brought people together, be they struggles of a nation or celebrations of cultures that have established themselves in our nation.

The Government has done a reasonable job in preserving monuments.

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Apart from monuments, what is the Government doing to capture these memories, to build stronger sense of shared identity and cohesiveness among Singaporeans?

As many Singaporeans get older, we will start to lose people who have had experienced many of our historical events, memories from the past. We have archives of prominent Singaporeans. With the widespread use of social media, will the Ministry consider creating a platform for ordinary Singaporeans to share their memories, create oral or video archives, eg, experiences in WWII or the riots? We may find common roots and form new-old communities. For me, the schools I attended are no longer in the same form I remembered them. I think it will be a waste if Singaporeans like me have less and less to be rooted on as Singapore develops into modernity.

A sense of history and belonging

Ms Irene Ng Phek Hoong: Sir, as time marches on, as memories fade, and as the founding generation passes, we must step up our efforts to preserve the images, voices and documents that form this country’s historical memory. It is more than a responsibility – it is our national duty, not only for this generation but the future. An important priority is a systematic collection of documents and images of our founding fathers. The materials should also be made available to the public in various forms. For example, the National Archives, together with MediaCorp, could produce a CD of "Great Speeches of Singapore’s Founding Leaders" with audio-visual clips of the key speeches which defined the nation’s course since 1959. This can be screened on TV, aired over radio and sold at bookshops.

Audio CDs of great leaders are not uncommon in countries like US and UK

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and you can find these CDs in bookshops in those countries. For the people’s version of history, we should also collect documents and memories from the public. The project must be democratic: everyone could share their memories of Singapore. The nature of what could be created and its potential cultural value are almost infinite. The more people get involved, the bigger and stronger the archive would become. The resources gathered should not be locked in a vault, but be packaged into travelling exhibitions to the heartlands.

The songs and stories are all part of our vibrant heritage. So are our buildings. We should be very cautious about razing structures which hold people’s memories and dreams. With imagination and resources, this project can help foster a continuing dialogue about the past, and facilitate effective public consultation and participation. The materials can also be a rich resource for film-makers and TV broadcasters to make documentaries for local dissemination and for export. Such activities need funding support and a lead agency to champion them. Let us not be found lacking in our resolve to preserve our collective heritage and memory – before it is too late.

Mr Sam Tan Chin Siong: Sir, I would like to thank the hon. Members for asking about the social role that MICA plays. This is a challenging but important role. Our efforts are aimed at nurturing a sense of national identity and belonging among our people so as to strengthen the cohesiveness of our community; and make Singapore a place close to our hearts.

A key component of nation building and national identity is our shared heritage and memories. Mr Zaqy Mohamad and Ms Irene Ng have passionately asked about our efforts to preserve familiar buildings, landmarks, neighbourhoods and things

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that invoke a sense of shared experience and belonging among Singaporeans. We are a young nation but despite this, we have a reasonably good collection of old buildings, which reflect our rich national, social and cultural heritage. I agree with Ms Irene Ng that we should be cautious about razing down structures in the name of progress. To date, 61 buildings have been gazetted as national monuments. Beyond preserving them, the National Heritage Board makes efforts to engage the public, organising programmes for Singaporeans to learn more about these historic landmarks. The National Heritage Board (NHB) also extends its efforts online, such as at yesterday.sg and MyStory.sg , for the public to learn and share about all things of heritage in Singapore.

The National Archives of Singapore also serves a key role of collecting, preserving and managing Singapore’s public and private archival records, including oral history interviews. These are key to capturing the moments in our past, allowing researchers and the public in general to find out more about our chapters in history. One good example is actually Ms Irene Ng herself. She spent much time researching all these archives to prepare for her excellent book on the late Mr Rajaratnam. The book is titled "The Singapore Lion", which was launched last month.

Ms Irene Ng also asked about making great speeches in Singapore into various forms. I am pleased to report to this House that all political speeches deposited with the previously Ministry of Culture, thereafter MITA and now MICA, since 1960s are available online via the online finding aid, Access to Archives. The texts of all these speeches are available online. Selected excerpts of audio recordings are also available online as well. Specifically on Ms Irene Ng’s suggestion of producing a compilation of key speeches, I am also happy to share that the National Archives

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is now working with Minister Mentor’s office to collate extracts of Minister Mentor’s views and comments on national and international affairs, Singapore’s economic development and social issues. All these will be based on Minister Mentor’s interviews and dialogues, both conducted in Singapore and overseas. When completed, this will give Singaporeans or researchers the opportunity to read and listen to Minister Mentor’s comments.

We also recognise that there are many other things that evoke memories and a sense of nostalgia in people, although they would not necessarily qualify as national monuments. For example, you and your friends may have an interesting memory of growing up in Bras Basah Road or any other street in Singapore, or the parks, such as Fort Canning or any other parks, where you and your spouse used to go dating. So we want to capture these personal stories for posterity as well. I am therefore pleased to announce that MICA will be embarking on a major national project, to capture the collective memory of our people and institutions.

Known as Singapore Memory, the project will capture all things Singapore. It will include the pioneering spirit of Singaporeans past and present, the milestones in our nation-building journey and also the creative expressions and aspirations of Singaporeans from all walks of life. In essence, we aim to create a "History of Singapore" as seen through the eyes and experiences of our people – you and me. This will help build up a shared identity and also a greater sense of rootedness amongst all Singaporeans, many of whom have witnessed tremendous changes in the physical and the social landscape in just one single generation.

Sir, besides capturing and digitising these memories, we also enable them to

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be shared in a borderless way; where they can be accessed, discovered and researched at all levels, by researchers, students, institutions or any individual interested in Singapore. Hence, I would like to assure Ms Irene Ng and also Members of the House that all the Singapore Memories will not be locked away in a vault.

This is a Private, Public and People (PPP) sector initiative. It is spearheaded by the National Library Board. We hope to be able to receive five million contributions on Singapore’s memories by August 2015. 2015 is the 50 th year of Singapore’s independence. So it is very meaningful that Singaporeans present five million memorable recollections to commemorate our nation's 50th Birthday. For the benefit of both the present and future generations of Singaporeans, we hope that everyone will contribute generously to this collection, when we launch the project later this year.

Singapore is fast becoming a vibrant global city. Other than preserving our heritage, we also agree with Mr Zainudin Nordin that we need to promote graciousness among our people. It is about our way of life and also the values that shape our society.

The Government has been actively encouraging a gracious society. Last year, the Singapore Kindness Movement (SKM) launched Project Gracious with targeted programming in five different sectors – the home, the school, the work place, the neighbourhood and public places, and finally to our visitors from around the world. SKM is working with more than 200 private and Government partners, including schools, People’s Association, HDB, F&N, Robinsons and Vivo City Mall, to launch many new initiatives to promote graciousness among Singaporeans. The broad-based public education efforts are

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supplemented by deeper community engagement across all sectors of our society. Programmes like Friend of Singa allow students to take ownership of promoting kind values in schools. The Handy the Helpful Fish programme in pre-schools and kindergartens allow young children and their parents to learn kindness values and practice them together. The SKM also uses new media to reach out to the youth.

Sir, Project Gracious is a long-term project which will need time. However, preliminary results shows that improvement overall perception of graciousness among Singaporeans is there. Full results of the most recent survey will be released in early next month.

Singapore hosts many significant international events each year. So this year, we will be hosting the inaugural Youth Olympic Games (YOG) in August. These events focus global attention on Singapore and our people, and they are good opportunities for us to showcase Singapore as a kind and gracious host to the rest of the world. For the coming YOG, SKM will be working again with partners, under a unifying theme of "Let’s Champion a Smile". We hope that all Singaporeans, not just our frontline service staff, will play an active role in warmly welcoming our guests from around the world.

But ultimately, graciousness has to be internalised. These major events provide meaningful impetus for our efforts, but they are not the final goal. Charity starts at home, a lot of people say that. I encourage every one of us to perform simple acts of graciousness in our everyday lives and also to make Singapore a pleasant and endearing home.

**** Another factor in enhancing Singapore’s liveability is to ensure that all residents have access to leading edge infocomm and media technology. Mr

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Zainudin Nordin and Mr Teo Ser Luck have asked what MICA is doing to ensure Singaporeans are connected.

I am pleased to report that over the last 10 years, the telecommunications market has enjoyed vibrant growth, with the entry of hundreds of telecom service providers, greater choices of telecom services and products, and a 500-fold expansion of Singapore’s international connectivity. So today, Singapore has multiple submarine cable systems with more than 52 Tera bits per second of potential capacity supporting international and regional telecoms connectivity.

This has brought about significant improvements in the adoption of infocomm in Singapore over the years. According to IDA’s 2009 Annual Survey of Infocomm Usage, 83% of households today have access to computers. This is a significant increase from the 61% in the year 2000. Similarly, the percentage of households with broadband access has also increased ten-fold from 8% in 2000 to 80% in the year 2009. Singapore’s mobile penetration rate in 2009 was 137%, almost double the rate of 75% in the year 2000. So as a result, Singapore’s rate of household infocomm adoption has been comparable to the top 10 Organisation for Economic Cooperation and Development (OECD) countries since 2004.

Most crucially, competition in this sector has lowered personal and business communication costs. For example, in 1999, international calls to the USA cost 80 cents per minute and to Australia 90 cents per minute. Today, with various competing international telephony services, calls to the US and Australia cost as low as 5 cents per minute, which is a hefty 90% reduction in cost. Broadband services too, have not only become faster but also cheaper. For example, prices of broadband services were over $70 per month in 2002 for 512 kilobits per second

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access rate. Today, you can get higher speed plans of 3 Megabits per second, or six times as fast, for as low as $30/month.

In addition, consumers can enjoy free wireless Internet access at the Wireless@SG hotspots. For businesses, prices of international leased circuits to countries such as Australia, Japan, Hong Kong and USA have also fallen by more than 90% since the liberalisation of the telecommunications market.

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So, with cheaper, faster and greater availability of broadband, many Singaporeans are now enjoying a greater variety of online applications and services. These include online multimedia, location-based services, e-learning, and online computer games, as well as e-Government services.

Sir, the rollout of the Next Generation Nationwide Broadband Network (Next Gen NBN) will further increase the data rate, providing ultra-high speed broadband access of up to one gigabyte per second island-wide. This future network is set to transform the way Singaporeans live, work and play. By having the same ultra high-speed access as in their office, people can now have more flexibility to work productively from home. Consumers can also look forward to a more innovative next generation services without having to leave the comfort of their homes, services such as personalised healthcare, immersive and interactive e-learning applications, interactive Internet Protocol television services, etc. Businesses will also benefit because the competitively priced services from this robust and pervasive network can improve their companies' productivity through lower costs of communications such as broadband services access, voice over IP, and high definition video conferencing, etc. They can also quickly link up and exchange business and operational information with their business partners

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across different locations, regions and countries, or take advantage of the Next Generation computing services such as cloud computing and remote data storage.

Rollout of this network is now underway island-wide, with more than 20% of homes and offices covered thus far. So, I am pleased to share with the House that the rollout is on track and could well exceed our target of reaching 60% by the end of this year.

In line with our aim of encouraging home owners to adopt the Next Gen NBN, OpenNet, the Next Gen NBN company will waive the installation charges of between $220 and $450 when home owners accept the offer of installation during the network's scheduled deployment to residents' homes. So, during the installation, OpenNet will also endeavour to minimise any inconvenience to the home owners.

So, I would like to take this opportunity to encourage all homeowners to accept OpenNet's offer when the network rollout reaches their estate or block, and allow the deployment of the network into their homes. They can then fully enjoy the benefits of innovative Next Generation services which are expected to be rolled out by various service providers in the second half of this year. This is especially since we expect the Next Gen NBN to become widely used by operators for delivery of advanced next generation infocomm services to our households.

To help consumers and businesses better appreciate the benefits of the Next Gen NBN, IDA will be setting up an Experience Centre by middle of this year. This will showcase the possibilities and benefits of Next Gen NBN and Next Generation services through interactive, hands-on exhibits that relate closely to our daily lives. IDA will also be working

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closely with grassroots organisations, the Community Development Councils and the Town Councils as part of the community outreach efforts.

In keeping with these technological advancements, we also want to nurture a digitally-inclusive society and ensure that no one is left behind. IDA will continue to equip needy students through the New and Used (NEU) PC Plus Programme, which is called "NEU PC". We also encourage senior citizens through the Silver Infocomm Initiative and empower people with disabilities by setting up this place called Infocomm Accessibility Centre for people with disabilities.

The NEU PC Plus Programme offers new computers, bundled with three years of free broadband service, access and software, at subsidised rates to needy families with school-going children whose monthly household income does not exceed $2,500, or whose per capita monthly income does not exceed $625. Students from low-income families who are unable to co-pay can render some form of community service to receive a fully-paid PC with further assistance from this fund called iNSPIRE Fund. Those who already own PCs but cannot afford Internet access can also tap on the Broadband-Only Scheme that provides subsidised broadband subscription. To-date, the programme has benefited more than 28,000 needy students and households. Overall, 95% of households with school-going children now have access to a PC at home and 92% have access to broadband at home.

Under the Silver Infocomm Initiative, IDA has set up five senior-friendly and conveniently located Information Technology (IT) learning hubs, called the Silver Infocomm Junctions, since the year 2007. Sir, another three such learning hubs are being set up and will be operational within the next three months. These learning hubs offer affordable infocomm training

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for seniors and also provide computer access. To date, more than 15,000 senior citizens have benefited from the training curriculum put together by IDA, which focuses on basic infocomm and digital lifestyle skills such as making video-calls over the Internet, using the free Wi-Fi service at Wireless@SG, and using social networking tools.

Sir, to make it even more accessible and convenient for senior citizens to use infocomm, IDA will be setting up 100 Silver Infocomm Hotspots island-wide by March 2013. These Hotspots will be located at various community centres and residents' committees, and will provide senior citizens free access to computers and Internet services. The first six hotspots will be rolled out in March 2010. Another eight hotspots will be operational within the next two months, the rest will be rolled out by the year 2013.

IDA will also partner schools to organise a series of Inter-generational IT Bootcamps for senior citizens to learn infocomm together with their grandchildren. Beyond bridging the digital divide by helping more non-PC users pick up IT skills, we hope that this initiative will also foster closer ties between our young and old. In fact, IDA just piloted one such IT Bootcamp at the CHIJ – Our Lady of Good Counsel with some 20 pairs of students and grandparents just last week. The feedback from the participants was very positive. The senior citizens not only enjoyed the experiential and interesting learning, but they also said that they had quality time with their grandchildren at the camp. For schools such as Serangoon Secondary, Maha Bodhi, Radin Mas Primary and CHIJ-Kellock are planning to organise similar IT Bootcamps during the coming March school holidays. So, I would like to encourage other schools to also come forward to co-organise such bootcamps with IDA.

To encourage IT learning among senior citizens, IDA will be initiating a scheme

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where incentives worth $100 each will be provided to senior citizens who complete 30 hours of IT training at any of the IT learning hubs that I mentioned earlier. This incentive can be used to purchase PCs at discounted rates from IDA-appointed partners. Through owning a PC, our senior citizens will be further encouraged to practise and also continuously hone their newly acquired IT skills.

Launched in July 2008, the Infocomm Accessibility Centre (IAC) aims to equipping the hearing-impaired, the visually-handicapped and the physically-disabled with IT skills so as to enhance their employability and also to contribute to the workforce. IAC has since trained more than 2,600 people with disabilities in infocomm skills.

While MICA encourages the adoption of new media, we share Mr Baey Yam Keng and Mr Arthur Fong's concerns on the need to foster cyberwellness and a new media literacy. Last year, the Government set up the Inter-Ministry Cyber Wellness Steering Committee (ICSC) to coordinate national efforts to foster cyber wellness for the youths in Singapore. MICA and MOE are jointly contributing a total of $10 million over five years, from 2009 to 2013, to support the work of ICSC. The Committee recognises that a multi-pronged collaborative approach involving the community is necessary to effectively reach out to our youths. Hence, on 30th October last year, ICSC launched its first public call for proposals for projects that promote cyber wellness and new media literacy among our youths when using the Internet as well as mobile and other emerging technologies.

The community's response to the call for collaboration was, indeed, very encouraging. The ICSC received a total of 32 proposals from the public, people and

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private sectors. The supported proposals are progressively being rolled out since February this year, and will reach out to youths, parents and educators. Examples of these initiatives include (1) cyber wellness education programmes for schools which cover primary, secondary and post-secondary levels, (2) cyber wellness camps, (3) counselling services, and (4) a nationwide outreach campaign by MDA to nurture Cyber Street Smart Kids. In particular, to address the issue of computer addiction, a point highlighted by Mr Arthur Fong, the ICSC is supporting the CyberWIZ camp. This camp is organised by the Institute of Mental Health to provide intervention and education to parents and children to break away from computer addiction.

Significantly, ICSC will also be commissioning a research project to study and better understand the state of cyber wellness practices and behaviour among Singapore youths. The findings will enable direct Government and community efforts to focus on areas that require more attention. This study will look not just at Internet usage, but also gaming environment which is increasingly becoming popular with youths. At the initial stage, the study will focus on how youths behave within this gaming space. This will then help our efforts to support and coordinate a balanced and targeted range of programmes and activities that can better address cyber wellness issues and concerns. Over time, with more wide-ranging programmes, we aim to foster and entrench a culture of cyber wellness practices among our young people as well as across the whole community.

Sir, MICA also seeks to foster social cohesion as well as a sense of community and a national identity among our people. As Mr Viswa has correctly pointed out, we recognise that TV is an effective vehicle for social integration, and we aim

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to achieve these objectives through the funding of Public Service Broadcast programmes (PSB).

Besides its social role, we also agree with Mr Chiam See Tong that TV programmes should be diverse, of high quality and provide good entertainment, not just to confine to food programmes or some drama serials from other countries. The support of the PSB programmes ensures that viewers are able to enjoy a greater range of programmes, including those genres that tend to be commercially less viable and may, otherwise, not be produced or broadcasted at all. PSB programmes cover a wide variety of genres such as information and current affairs, arts and cultural programmes, minority language news and programmes, children's and locally-produced sports programmes as well as quality local dramas.

Based on the findings of the Public Programme Appreciation Survey, a representative survey of our community which was first started in the year 2007, the public service programmes have generally registered very high levels of appreciation. On average, eight in 10 of the most appreciated shows surveyed are public service programmes. Such programmes are also well received by viewers as evidenced by their high viewership numbers. For example, the Malay drama Pinggiran Ramadan (Ramadan Blessings) was one of the highest-rated programmes to date on Suria with a rating of 22% as compared to the average of 12% for other programmes on Suria. The finals of the Vasantham Star variety programme hit record high ratings of 26% versus an average of 15% for programmes on Vasantham.

So, some PSB supported productions are also being represented by international distributors and acquired by established regional media players and channels such

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as ATV and TVB in Hong Kong, PTS in Taiwan and TVN in Indonesia.

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Our PSB programmes have also been receiving international recognition, including seven awards at the 14th Asian Television Awards in this year.

As you would probably know, "Little Nonya" is a hit overseas and has been broadcasted in several other countries, such as China, Malaysia and Hong Kong. The programme " Lifewatch", which documents the work of healthcare givers and their interactions with patients, received the prestigious 2009 CINE Golden Eagle Award. These are testaments to the rising quality of our local productions.

Notably for Vasantham, after it was re-launched as a full standalone channel in October 2008, it now offers a wide variety of quality Tamil programmes as well as content that reaches out to non-Tamil speaking Indians as well. Some of my grassroots leaders told me they also watch Tamil programmes on Vasantham. That shows how popular it is with some of the Singaporeans. With news and current affairs being key sources of information on community events and Singapore's policies, the daily Tamil news bulletins and the weekly current affairs programmes "Ethiroli " (Echo) and "Naam " (Us) feature community events like book launches, family day carnivals, and so on, have been reaching out to the Indian community at large in Singapore. The new financial year will also see a new weekly community news-based programme focusing on local events. These programmes will serve to bring the Indian community together, including PRs and new citizens, a point made by Mr Viswa.

I am pleased to say that over the past year, Vasantham has done well in attracting more viewers. Its prime time viewership has gone up by about 50% since its launch as a standalone channel.

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While there is competition from cable TV channels, such as Sun TV and Zee TV, Vasantham has consistently garnered the highest channel reach among Indian viewers who watch both free-to-air and cable TV.

The Media Development Authority (MDA) will continue to work with the broadcast industry to ensure that the variety and quality of TV programmes are constantly improved, especially for local productions. This is also in MediaCorp's commercial interest to do.

And, finally, I also want to assure Mr Viswa that we will study his suggestion on using new Singaporean talent and also the idea of having English programmes on Vasantham in order to promote the integration in the Indian community.
Sir, in conclusion, we will continue to engage all segments of our society to fulfil our aspiration to build and strengthen our nation, where our citizens are engaged and emotionally attached to Singapore. This is a place where all of us call home.

And for some of the Members' queries which are not addressed in my speech, please raise them during the clarification time.

The Chairman: We have a bit of time left. Yes, Mr Zagy.

Mr Zaqy Mohamad: I thank the Minister and Parliamentary Secretary for the clarifications and the announcements that have been made by MICA. I have some clarifications.

On a recent issue of public interest – this concerns the new media – I would like to touch on MICA's response or non-response following Gopalan Nair's Internet hoax about Minister Mentor Lee's ill-health last week. Though we know it was untrue, what is MICA's view in handling such means of communication that

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concerns public interest? From Friday night through Monday morning, I received a number of emails asking me if it was true. Why did MICA choose not to provide an official position to allay the fears of the public promptly?

Second, we spoke quite a bit on the PQ last month on the sensationalisation that happens in the mainstream media. And in this case while we talked about sensationalisation, today we see character assassination quite a bit with the recent Mr Jack Neo incident and, previously, Ms Ris Low. It is ongoing but it is sad to see the media degrade into the paparazzi culture.

Thirdly, on the National Authentication Framework (NAF), I want to find out how the Government plans to safeguard personal privacy and data security for the citizens of Singapore.

Lastly, on the single set-top box proposal, I want to find out how MICA plans to roll this out? Will the public have to replace their own set-top boxes themselves? Or are we going to get the operators to do that?

RAdm [NS] Lui Tuck Yew: Thank you for the clarification. Sir, let me try and deal with each of them in turn. Let me deal with the specific issue first of Mr Gopalan Nair, and then I will then try and broaden it to talk about how we approach hoaxes, half truths, lies, and so on.

For Mr Gopalan Nair, I frankly do not think there is a need to dignify his hoax with a formal response. We should just treat it with the contempt that it deserves. I think all it shows is the character of the man. And for those who do not know him well enough, this will reveal what his character is like. I think the larger question is: how do we deal with what is on the Internet. A lot of it is

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good, useful; there is much information that we can access but there is some of it that is also unhelpful, unsavoury and, indeed, I know parents are concerned about that. If I come back to the example of Mr Nair, I give credit to the Internet community for, first of all, expressing disbelief and some even say "Look, you just read the newspaper; you will get the truth from it". They are able to discern whether or not they should believe it fully.

Secondly, when he confessed that it was a hoax, a number of the sites actually came out to condemn him roundly and many netizens themselves also did so. Regretfully, not every site did that and there are some sites that actually continued to champion his cause. I think it is worthwhile occasionally to have incidents like this so that the entire community is aware and can take steps themselves to see how they can, to some degree, self-regulate.

Our approach to new media has been to adopt a light-touch policy. And with some of the moves that we are going to make with regard to the Parliamentary Elections Act and, subsequent to that, to Internet Elections Advertising Regulations following from the AIMS' recommendation the year before, we have actually taken a lighter touch and therefore a more relaxed approach over the years. But I think it is worthwhile to remember that a relaxed grip is the sign of a strong hand. When we look at what is going on, we are particularly concerned with misuse of identities, stolen identities, impersonating other people. The same laws that apply in the real world apply to cyberspace. And netizens should be mindful: they take courage from the cloak of anonymity in cyberspace and sometimes that can have repercussions beyond what they imagine it to be.

Second thing is the reporting of Mr Jack Neo's affair. I know that some of the tabloids have been chasing this. It is, of

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course, an issue of interest to many Singaporeans and, indeed, also to those outside of Singapore. I think, firstly, we want to make sure that the broadsheets are reporting this in a way that is non-sensational – where they have to report it that it is in a factual manner, it is balanced, it is credible. The approach taken by some of the tabloid papers is somewhat different. They reach a different audience and they report it as they have reported, eg, the misbehaviour of Mr Tiger Woods. So, we make a distinction between the tabloids and what is reported on the tabloids; and the broadsheets and how it reports news of this nature. But we are indeed mindful that for all papers there are certain boundaries, and it should not go to the extent of harassing the family, targeting the children, and so on.

On privacy issues relating to National Authentication Framework (NAF), it is actually less so to do with privacy as opposed to having a robust and trusted security architecture. Today, as I mentioned earlier, the banks and the institutions use different means, different tokens; the level of security varies from institution to institution. And we think that NAF will actually bring this together, raise it to higher level that we believe will be cost savings as more institutions and more users come on board. Privacy issue we are dealing with it separately. At the right time we will put forward something in Parliament.

Set-top boxes – into the future as part of what we are doing for IN2015, we are actually looking at a common-feature set-top box. There is an ongoing discussion now with industry as to what form this will take because we want to make sure that a common-feature set-top box allows open access by the smaller players that we hope to be able to bring in under the next generation nation-wide broadband network. This will take some time but, in the meantime, we believe that what we

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are going to introduce – the mandatory cross carriage where viewers can access content from a single set-top box – will be an intermediate solution.

Mr Low Thia Khiang: My clarification relates to SingPost. The Minister had, in his reply, cited quality of service figures. He said that 98% of the mail were delivered the next working day in CBD, and 95% to the rest of the area. I would like to ask him: How sure is he that these mail delivered are being delivered correctly to the addressees?

Secondly, the Minister replied that if there is any problem then people might want to complain individually to SingPost for it to tackle these specific issues. I want to ask: What is his Ministry's responsibility in ensuring a reliable postal service? Does MICA conduct any audit on how reliable the service is? And whether or not MICA has any benchmark for the service standard? I wonder whether has MICA also outsourced its regulatory functions to SingPost?

RAdm [NS] Lui Tuck Yew: First of all, the quality of service standards, in terms of delivery of mail: it is 99% by the next working day to areas within the CBD, and 98% by the next working day to areas outside of the CBD. This is comparable to countries around the world that we benchmark ourselves against. And these are, I think, high enough standards.

Frankly, I do not have data as to how many letters are misdelivered. I suspect not significantly so otherwise we would be hearing a lot more comments. I am sure that there must be some misdelivery. It is helpful for individuals to approach SingPost, and when they cannot get a reply that is sufficiently robust, for them to approach IDA.

IDA has not outsourced its regulatory functions, let me assure the Member. It will continue to take this seriously.

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Ms Irene Ng Phek Hoong: Thank you, Sir. I thank the Minister for the good news that more will be given to the literary arts in terms of funding, and that it is an important focus for MICA this year. Can I ask the Minister to widen the definition of literary arts in Singapore? This is now very limited to creative work, fictional work and poetry. In the US and UK, which is at the forefront of literary arts, they include non-fictional work as well. So by widening it, we can allow MICA to support and promote good writers from different fields. So, can MICA consider this?

RAdm [NS] Lui Tuck Yew: Certainly, we will be happy to do so.

Mr Christopher de Souza: Thank you, Mr Chairman. I would like to have responses to both my suggestions on building filters to block out pornographic as well as sexual grooming sites so that parents do not have to police the Internet at home; as well as the complementary point of Mr Baey Yam Keng on that point. I do not think we have responses yet.

Mr Sam Tan Chin Siong: I thank Mr Christopher de Souza and Mr Baey Yam Keng for raising the point which I did not respond during my speech. I would like to assure both Members and also the House that the CRC will take very seriously all measures that can help to seek out the materials and to ensure that our youth will not be falling prey to undesirable materials.

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Specifically, on his question of filtering: as we know, filtering is not a foolproof measure which can effectively censure all the materials. But, nonetheless, this is also one of the options considered by the CRC together with many other options. Members will hear concrete measures when the CRC has completed its work.

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As for the pornographic materials in books and publications to be sold in bookshops and petrol kiosks, I would like to give my assurance to Members that we have not allowed this to happen in the past and we will continue to disallow this in the future.

The Chairman: Mr Calvin Cheng, a quick clarification.

Mr Calvin Cheng: Sir, I have two clarifications. First, concerning media competition. Would MICA be willing to investigate whether MediaCorp's upstream monopoly allows it to unfairly benefit its downstream subsidiaries? I fail to see how MediaCorp's channels will not prefer to use their own internal production studios given that they share the same profit and loss statements.

The second clarification is regarding culture. I do not doubt our ability to build world-class infrastructure, high-speed broadband networks, etc, but I feel the problem is with cultural software. Would MICA be willing to set a national cultural agenda for media; our arts, our fashion, our entertainment, etc, to draw from and appreciate it from our very own rich heritage instead of always looking at outside, be it western or otherwise, for inspiration?

RAdm [NS] Lui Tuck Yew: On media competition, as I have mentioned earlier, we find no evidence, and we have investigated this before, that MediaCorp is anti-competitive. We will like to hear what evidence there may be in this regard before we relook at this issue again.

As I said, what we are trying to do is make sure that we give enough opportunities to gradually grow the independent production houses and to make sure that they reach a sufficient level of sophistication that they not only can do works that are commissioned by

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Singapore, whether directly from MDA or through MediaCorp, but also to work increasingly with countries and companies outside of Singapore.

For our PSB programme, as I have mentioned earlier, close to 40% local PSB hours funded by MDA already goes to the independent production houses and that is channelled through MediaCorp. Separately, we also have an amount of money that the independent production houses and MediaCorp compete directly for, programmes that we think are going to be beneficial, programmes that will be aired by MediaCorp on our local TV. So this is part of what we do to try and grow the ecosystem here and, indeed, some of these companies are now reaching a stage where they are able, I think, to stand on their feet and to compete globally.

On culture, part of what we want to do with the traditional arts plan is actually to draw deeper into the wellspring and the reservoir of rich materials that we have here. I am not sure I know what exactly is in the sense the national culture agenda that the Member has suggested. I will be happy to discuss this further with him. But we recognise that going forward what we need to do more of is actually distinctive content coming out from Singapore and, in this regard, I think we are of the same mind. We want to use the history, the heritage, the multi-culture that we have in Singapore to be able to produce this reservoir of works that we can identify with and be proud of.

Mr Baey Yam Keng: I would like to thank the Parliamentary Secretary for his clarifications on the Ministry looking to filter undesirable content on the Internet. I would also like the Ministry to look into a more fundamental approach to help people, especially the young, to discern between desirable and undesirable content, facts and misinformation in the new media.

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Mr Sam Tan Chin Siong: Well, in my reply just now, I mentioned that the Inter-Ministry Committee on Cyber Wellness is studying various programmes and activities to help not just the young but also other members of the society not to be addicted to gaming and computer activities, and so on. This Committee is still in the progress of rolling out the activities. But as it is now, there are quite a number of educational programmes that are organised in the schools, the grassroots organisations, and so on, to actually impart the right mindset to the young people at the schools and at the community places about the proper usage of computer and the problem of computer addiction, and so on. So you will hear more about this when the Committee rolls out further plans.

Mr Zainudin Nordin: Sir, I understand the Minister mentioned reviewing of the switch over from analogue to digital broadcasting. So is there anything that the consumer should take note of if the Minister has something to inform us?

RAdm [NS] Lui Tuck Yew: Oh no, I do not have anything to inform Members beyond what I have said. Basically, this is the phenomenon that is taking place worldwide. A number of countries have completed or are in the process of switching over. Some countries in Asia are already progressing. ASEAN has decided between 2015 and 2020. Singapore will do the switch over together with our ASEAN counterparts.

I think what might be helpful is that when people, over this period of time, consider buying a new TV, as I am sure some of them will, there is a possibility of looking for televisions that already have built-in set-top boxes.

These are areas that we would release more details when we have completed our

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study. There is plenty of time, no real urgency. It is really to let people know that this is coming. Great benefits, I think, for the consumers – better programming, interactive programming – and this is the direction that, I think, the whole world is taking place.

The Chairman: Last question, Ms Audrey Wong.

Ms Audrey Wong Wai Yen: I will make this quick. Just three clarifications: First, the Minister mentioned about talent development pathways for our people. I would like to ask about the arts scholars. Does MICA track the progress of our arts scholars? And does MICA offer some career advice for arts scholars who have completed their studies so that they can contribute better to the community?

Second clarification is about the Esplanade, about how commercial arts promoters find it challenging to compete with the Esplanade, for instance, on pricing levels. Would MICA consider asking Esplanade to focus a lot more on artistic programmes and leave commercial acts to the commercial promoters?

And my third clarification – actually it is more of a suggestion. The Parliamentary Secretary mentioned the popular programme on Vasantham on community news and I was thinking about a community programme that gives news about all the communities of Singapore – the Chinese community, Malay, Indian and all different foreign communities and this could be a programme that maybe has different language streams and, I think, could help with multi-cultural integration and creating a cultural identify for Singapore so, perhaps, MICA might want to take that up.

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The Chairman: We have about seven minutes.

RAdm [NS] Lui Tuck Yew: Yes, we track arts scholars carefully because we have invested quite a significant amount in them and certainly we hope that they will contribute in significant ways. Many of them do.

Donna Ong is a wonderful example of a young lady that benefited from our schemes and now she gives back in so many different ways. She has attained a certain level of maturity in her works. One of the young artists award winners, the prize given by the President. I do not know whether you caught her work at the Singapore Art Museum last year. They are very, very well received internationally. Let me describe it. Basically, she cuts out pieces of Chinese art works and puts them through several layers of perspects and so when you look at it through the perspects, the pieces that are stuck on behind takes on a very mystic view, all right and those that are in front much sharper and perspective. It wowed the audience. Many people I know, through her, wanted to buy that piece but she decided that she wanted to keep it for herself.

But yes, as a whole, we watched very carefully. We do have good mentors in the industry who are prepared to come forward and help shape and direct their careers.

On the Esplanade, I think what happens is that the Esplanade is both a venue as well as a promoter. As a venue, it is open to companies that make use of the facilities. As promoter, they work with, for example, the SRT, as the Member mentioned herself, to commission works that will have a certain cache and resonance. At the end of it, I think it is the consumer that benefits. The Member mentioned some figures on the cost of

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tickets, both for productions that are commissioned by the private companies as well as those that Esplanade has a hand in. I think those are reasonable prices. Some of the works that the Esplanade helps to commission, like for example "Winter's Tale " , the pricing of the tickets was actually much higher compared to the numbers that the Member has put forth. So it is to some extent also the quality of the works as much as the pricing that draws the audience and I suspect that what we are doing today actually allows a more diverse, eclectic mix of performances and artistes to have the opportunity to perform in the Esplanade at a very high level.

On Vasantham and the suggestion to have a community programme of the various languages put together as one so that we can identify more closely with the other races and cultures, we will have to give that some thought, all right, and we will get back to the Member on that.

The Chairman: Mr Zaqy, are you withdrawing the amendment?

Mr Zaqy Mohamad: Mr Chairman, we are almost at the end of the session. Chairman, on behalf of the House and the GPC, I thank the Minister and the Parliamentary Secretary for the lively session today and setting the Budget on course to achieve MICA's economic, cultural and social portfolios. I would like to thank the Permanent Secretary and his staff as well as the heads of agencies under MICA and commend them for the hard work they have put in for the last few months to put together the Budget and I hope that this Budget will set the Ministry to take Singapore forward and lead it to the vibrancy and progress of the sectors it oversees. We wish you well and all the best in your endeavours.

Sir, I beg leave to withdraw my amendment.

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Amendment, by leave, withdrawn.

The sum of $558,655,900 for Head Q ordered to stand part of the Main Estimates.

The sum of $448,039,600 for Head Q ordered to stand part of the Development Estimates.

The Chairman:

The Chairman: I shall now deal with the remaining heads of expenditure in respect of which no amendment stands on the Order Paper Supplement. In respect of the Main Estimates, they are Heads B, C, D, E, F, G and Z. I propose to take these heads of expenditure en bloc .

Question, "That the sums stated for Heads B, C, D, E, F, G and Z which appear in the last column of the Schedule of estimated expenditure under the Main Estimates on page 6 of Paper Cmd. 1 of 2010 stand part of the Main Estimates," put and agreed to.

The Chairman: In respect of the Development Estimates, they are Heads B, C, D, E and F.

Question, "That the sums stated for Heads B, C, D, E and F which appear in the last column of the Schedule of estimated expenditure under the Development Estimates on page 7 of Paper Cmd. 1 of 2010 stand part of the Development Estimates," put and agreed to.

Question, "That the sum of $55,560,908,700 shall be supplied to the Government under the Heads of Expenditure for the Public Services shown in the Main Estimates for the financial year 1st April, 2010 to 31st March, 2011, contained in Paper Cmd. 1 of 2010," put and agreed to.

Question, "That the sum of $26,023,710,900 shall be supplied to the Government under the Heads of Expenditure for the Public Services shown in the Development Estimates for the financial year, 1st April, 2010 to 31st March, 2011, contained in Paper Cmd. 1 of 2010, " put and agreed to.

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Resolutions to be reported.

Thereupon Mr Speaker left the Chair of the Committee and took the Chair of the House.

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The Minister for Finance (Mr Tharman Shanmugaratnam): Mr Speaker, Sir, I beg to report that the Committee of Supply have come to certain resolutions.

First Resolution reported –

"That the sum of $55,560,908,700 shall be supplied to the Government under the Heads of Expenditure for the Public Services shown in the Main Estimates for the financial year 1st April, 2010 to 31st March, 2011, contained in Paper Cmd. 1 of 2010."

Second Resolution reported –

"That the sum of $26,023,710,900 shall be supplied to the Government under the Heads of Expenditure for the Public Services shown in the Development Estimates for the financial year 1st April, 2010 to 31st March, 2011, contained in Paper Cmd. 1 of 2010."

Mr Tharman Shanmugaratnam: Mr Speaker, Sir, I beg to move, "That Parliament doth agree with the Committee on the said resolutions."

Question, put, and agreed to.

Resolutions accordingly agreed to.