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Straits Times
4 days ago
- Entertainment
- Straits Times
Concert review: SCO's Metamorphosis a harmonious celebration of SG60
Metamorphosis Singapore Chinese Orchestra Singapore Conference Hall July 19, 7.30pm The Singapore Chinese Orchestra's (SCO) opening concert for the 2025/2026 season, led by principal conductor Quek Ling Kiong, was a celebration of SG60. Sixty years of Singapore's nation-building were premised on a multicultural identity and social harmony, all represented in this concert. The evening opened with SCO composer-in-residence Wang Chenwei's Lion City Rhapsody, a modern look at the baroque concerto grosso. Its concertino group of soloists played 14 different instruments and covered the five Chinese dialect groups in Singapore, each with its own distinct colour. Its infectious and kinetic energy founded upon the Nanyin classic Trotting Horses culminated in a greeting for National Day in Hokkien, Teochew, Cantonese, Hakka and Hainanese. Of a more descriptive nature was Chen Si'ang's The Grand Canal, which began quietly with serene scenes of quaint river towns on the 2,500-year-old water system. Working itself into a big climax as it empties into the great Yangtze and Yellow Rivers, the quasi-cinematic work was symbolic of longevity and endurance. Former SCO composer-in-residence Law Wai Lun's The Stories Of Singapore highlighted landmarks in the nation's history as viewed in the pages and photographs of local Chinese-language newspapers. The accompanying images to the music's optimistic and self-congratulatory tone have been updated to include defeating the Covid-19 pandemic and the ascensions of Prime Minister Lawrence Wong and President Tharman Shanmugaratnam. There were two concertante pieces, both featuring Young Artist Award-winning percussionists. Top stories Swipe. Select. Stay informed. Singapore 1 in 3 vapes here laced with etomidate; MOH working with MHA to list it as illegal drug: Ong Ye Kung Singapore HSA extends hotline hours, launches new platform to report vaping offences Singapore Tampines regional centre set to get more homes, offices and public amenities Multimedia How to make the most out of small homes in Singapore World Diplomats dismissed: Inside the overhaul reshaping Trump's foreign policy Life US tech CEO Andy Byron resigns after viral Coldplay 'kiss cam' video Opinion I thought I was a 'chill' parent. Then came P1 registration Singapore 'God and government are the only things beyond our control,' says Group CEO India-born tabla player Nawaz Mirajkar was soloist in his Soul Of Damaru, a raga-based work where he performed on one tabla and five damarus (hourglass-shaped Indian drums). The hypnotic spell generated was most magical when heard in counterpoint with Benjamin Boo's xylophone. A quite different atmosphere came with Riduan Zalani helming no less than eight frame drums (including tambourines) in Taiwanese composer Chang Yung-chin's Within And Beyond. In its sequence of increasingly exuberant dances, there were spots for ad libbing and even audience interaction, which kept the episodic work edgy and absorbing. Then came the world premiere of Wang's Converging Resonances, which commemorated 60 years of the Singapore Conference Hall's history. Its metamorphosis from National Trades Union Congress headquarters to SCO's performing home unfolded in the form of a passacaglia, an inventive series of short varaations on a ground bass. While its inspiration came from Johannes Brahms' Fourth Symphony, the immaculate execution with numerous instrumental solos was wholly Chinese in character and feel. Closing the concert was Felix Phang's Pasat Merdu, translated as 'melodious marketplace', another concerto grosso-like work where diverse cultures and ideas are welcome. This adaptation by Germaine Goh for Chinese orchestra placed centrestage four members of The Straits Ensemble – Govin Tan (tabla), Nizar Fauzi (rebana), Azrin Abdullah (oud) and Phang (double bass) – in a raucous and colourful melange. This and the encore of Tamil song Iyarkaiyin Kaatchi, which included guest of honour President Tharman in a clap-along, were enjoyable reminders that multiculturalism in harmony is what makes Singapore tick.
CNA
03-06-2025
- Business
- CNA
Some arts groups becoming not-for-profit entities to encourage more donations
SINGAPORE: More arts groups in Singapore have been turning into Institutions of Public Character (IPCs) in recent years, which gives tax benefits to their donors. Between 2019 and 2023, the number of arts groups doing so rose from 75 to 88 — a nearly 20 per cent increase, according to the Commissioner of Charities annual reports. IPCs are required to conduct activities that exclusively benefit the local community. This not-for-profit status could spur more donations, said observers. INCREASE IN SUPPORT The Siong Leng Musical Association, for example, applied for IPC status in 2022 after gaining more recognition over the years. The arts group was established in 1941 to preserve and promote Nanyin, an ancient Southern Chinese music form. Siong Leng's donors can receive a 250 per cent tax deduction with its IPC status, making it more appealing to donate to the group. Ms Lim Ming Yi, outreach manager and artist at Siong Leng, said 'Through this, we hope that it opens more doors for us, more opportunities and also helps us establish better credibility and accountability, for existing and future organisations and individuals who may be more inclined to donate to us because of tax deduction benefits.' Since then, the group has seen an estimated 50 per cent increase in support. 'We were able to pull more into our education and outreach initiatives locally and abroad, for overseas exchanges as well,' said Ms Lim. 'Other than that, I think being an IPC company also signals a level of transparency and governance, which can reassure existing and future stakeholders.' But attaining this status is no easy feat. Paper Monkey Theatre, a puppet theatre company, said it had to hire an accountant and a lawyer to meet compliance requirements. These additional services cost around S$20,000 (US$15,500), but such expenses were covered by the Sustain the Arts (stART) Fund by the National Arts Council. Mr Vincent Ong, general manager of the Paper Monkey Theatre, said the council encouraged the company to apply for the IPC status to rebrand itself. 'Before (that), our donation yearly actually came up to only about S$6,000,' he said. 'But ever since we got the status, there (has been) a 200 per cent jump in the donations,' he noted, adding that the IPC status has helped it to attract donations from more corporates. 'So we get probably about S$16,000 to S$18,000 a year of donations, and that has helped us a lot.' GROWING THEIR CRAFT One benefit of being an arts IPC is that organisations with the status can apply for the Cultural Matching Fund (CMF), which gives a dollar-for-dollar boost to receive donations. This gives companies more means to improve and grow their craft, which also translates to more room for creativity. Since 2014, more than S$400 million of the CMF has been disbursed. Yet for the Paper Monkey Theatre, the funds raised may not be enough to sustain yearly programmes. Its costs can go as high as five times its total donations, largely due to maintenance and professional fees. Other IPCs such as Art Outreach Singapore, which focuses on the visual arts, have taken a different approach. It has turned to other means of income such as more commercial projects. While the earnings are not viable for the CMF top-up, they ensure a diverse stream of revenue for its programmes. 'We can hire artists to help paint a mural, help with workshops, help with a brand activation,' said Ms Mae Anderson, chairman of Art Outreach Singapore. 'We get to help artists not just get the work, but help artists professionalise themselves,' she added. 'So I think this is something that is a lot more fruitful for the system where we get a little bit of fee, the artists get the work, and the corporates get to do more with art.' Ms Anderson said she is looking forward to more collaboration and peer learning among arts groups, so they can share best practices and grow stronger together in their journey as IPCs.
Korea Herald
12-05-2025
- Entertainment
- Korea Herald
Food event in China's Xiamen cooks up a taste of Southeast Asia
BEIJING (China Daily) — In gastronomy, spices are more than ingredients — they are storytellers. A dash of cinnamon, a spoonful of chili, a swirl of curry — each holds the power to unlock centuries of trade, tradition and transformation. The fifth season of the hit food documentary Once Upon a Bite turns its lens toward these "magical keys" of flavor, exploring how spices have journeyed across continents, shaped regional cuisines, and left lasting marks on the global food map. This season, the series doesn't stop at storytelling — it steps off the screen and into real life. Launched by Tencent Video and DOClabs Beijing, Once Upon a Bite introduces an immersive offline experience: A Taste of Flavor — Once Upon a Bite | Discovering Xiamen, Encountering Southeast Asia. Why now? As travel and cultural exchange return post-pandemic, people crave real experiences. This offline journey lets them taste the story and connect more deeply with food and place. The event debuted in April in Xiamen, a vital node on the historic Maritime Silk Road and a city known for its rich blend of culture and cuisine in Fujian province. It began in the heart of Xiamen's "eighth market," where 15 local stalls welcomed guests to discover the city's culinary roots. Among the highlights was satay noodles — a local specialty whose soul lies in a rich broth of ground peanuts, sesame, dried shrimp, coconut, garlic, scallions and a medley of spices. It embodies the fusion of Southeast Asian depth with Minnan (southern Fujian) tradition. Visitors gathered around tea tables, savoring dishes while watching their preparation up close. Vendors shared stories behind the recipes, and live performances of glove puppetry and Nanyin music added cultural texture to the flavorful journey. "Spices are not just condiments — they're cultural connectors," says tourism scholar Peng Jun. "They reflect the warmth and openness of Xiamen as a migrant city and serve as a unique signature of Chinese cuisine in the world. "Since the Tang Dynasty (618-907), people have come to Xiamen at different times, but finding a taste of home here has never depended on when they arrived. "The city's rich diversity of spices speaks to its endless possibilities — everyone who comes to Xiamen finds their own unique flavor of the city." To bring the story full circle, several products featured in the documentary are now available to the public. Cheuk Yuet . Queen, a Southeast Asian-style restaurant in Xiamen has launched the turtle-shaped peanut cake seen in the documentary, and new condiments, including sambal chili sauces made from five regional Chinese chilies and five varieties of tropical-style curry sauces, are now sold online. "We've always treated Once Upon a Bite as a growing IP," says producer Zhu Lexian. "Expanding beyond the screen is our way of turning stories into experiences — and this is just the beginning."
