Forum: Culture Pass can help market arts groups and attract new audiences keen to use credit

I read with great interest the letters by Forum writers Rei Poh (Fund arts practitioners directly instead of giving culture passes, March 21) and Cheng Shoong Hock (Convert SG Culture Passes to CDC vouchers for the elderly, March 18) regarding the SG Culture Pass. I would like to offer a different perspective in response to Mr Poh’s letter.

The Government has actively funded arts organisations for many years – supporting the creation, development and presentation of artistic work, as well as the development of artistic talent.

This support is provided through initiatives like the Major Company Scheme and various funding opportunities, including the Presentation and Participation Grant and Market and Audience Development Grant offered by the National Arts Council.

To me, the introduction of the Culture Pass is a particularly interesting move.

For the first time, funding is being channelled towards actively encouraging people to attend and engage with arts events.

In some ways, the Culture Pass cleverly taps into a familiar aspect of Singaporean behaviour: our kiasu instinct, or the fear of missing out. Give us spending credit, and we’re likely to use it, even if we’re not quite sure what for at the outset.

This simple mechanism lowers the barrier for first-time or occasional arts-goers, giving new audiences the chance to discover the arts without any significant opportunity cost.

Mr Poh rightly highlights the cost pressures that arts businesses face. However, even if greater subsidies were made available to ease cost burdens, these alone may not be enough to bring in audiences.

Marketing remains a crucial piece of the puzzle – without it, events risk going unnoticed, especially by those outside the usual arts-going crowd.

The Culture Pass can be seen as a kind of nationwide marketing subsidy for arts entities – helping to drive demand and encourage participation, especially among new audiences.

It encourages audiences to explore and develop their own tastes and preferences – and, over time, their own demand for arts events. This could create new sources of support for arts organisations in future, which is key to building a diverse and vibrant scene that is not overly reliant on government funding.

The Culture Pass’ focus on developing local tastes and demand is also significant. Arts and culturally curious tourists are unlikely to visit events where the local scene feels dull or disengaged. To build a vibrant arts community for everyone, we first need an engaged local audience before we can expect to attract international interest.

Mr Cheng raises an important point – seniors and those with health or mobility challenges may not be able to use the Culture Pass fully. This was also a concern I raised during this year’s Budget debates.

I hope the Government will ensure there are enough accessible and inclusive arts activities for those who may face participation barriers, so that the Culture Pass feels like an opportunity, rather than a source of pressure. Participation should remain flexible, meaningful and welcoming for all.

Usha Chandradas
Nominated Member of Parliament