NOTICE PAPER NO. 138 OF 2010
NOTICE FOR THE SITTING ON 19 JULY 2010
QUESTION NO. 495 FOR ORAL ANSWER CONVERTED TO WRITTEN ANSWER
Ms Audrey Wong Wai Yen: To ask the Acting Minister for Information, Communications and the Arts whether he can provide an update on the outcomes of measures taken by the Media Development Authority to address lapses identified in the Auditor-General's Report for FY 08/09 in its management of some programmes and funding schemes, particularly the implementation of more rigorous assessment and evaluation of grants schemes.
Answer
1 Mr Speaker, Sir, I thank the Nominated Member for her question and interest in the measures which MDA had undertaken to address the lapses identified in the Auditor-General’s FY 08/09 Report .
2 I am pleased to inform the House that MDA has implemented the necessary remedial measures to address all the lapses identified by AGO. This includes completing the refund of RTV licence fees and the implementation of an auto-refund system, as well as tightening its administration and processes for broadcast licensing, procurement and contract management.
3 For the Public Service Broadcast or PSB programmes, MDA has instituted regular, mid-term reviews by its management and channel heads. It has revised its key performance indicators to include viewership ratings, programme ratings, programme reach and content hours. Recipients of PSB funding are also required to articulate clearly the PSB values for each proposed programme prior to receiving the grants. MDA will submit regular PSB reports to the Ministry and seek my approval for annual PSB funding allocations. The first two of such reports were submitted in August 2009 and February 2010.
4 On the Co-Investment Scheme in Exportable Content or SCREEN, MDA will conduct annual performance reviews on areas such as the total grants disbursed, the expected and actual key performance indicators, as well as revenues actually achieved. It has recently submitted the first review to its Board on 2 July 2010.
5 The governance of the Microfunding Scheme has also been improved. MDA will ensure strict adherence to the funding criteria, especially the requirement that start-up companies which receive grants should not be co-owned by their mentors. MDA will require proper declaration of interests by MDA staff and external partners such as expert panelists to ensure that the decision-making process for funding applications is fair, transparent and objective. MDA has also tightened up its grant disbursement process so that grants are provided only for approved projects.
6 In addition to the above programme-specific measures, MDA has implemented more regular reviews and audits of its funding process. This includes audits of sales and revenue reports to be conducted periodically, over and above the obligatory end-of-project audit that is built into all co-funding agreements from MDA.
NOTICE PAPER NO. 131 of 2010
NOTICE FOR THE SITTING ON 19 JULY 10
QUESTION No. 483 FOR ORAL ANSWER CONVERTED TO WRITTEN ANSWER
Ms Irene Ng Phek Hoong: To ask the Acting Minister for Information, Communications and the Arts whether he will provide an assessment of the Singapore Arts Festival and its development into an international yet quintessentially Singaporean festival which artistically presents Singapore's finest artists and companies in new works and international collaborations and demographically engages with as many people as possible, giving them ownership of their annual international festival.
Answer
1 I would like to thank Ms Irene Ng for her interest in the Singapore Arts Festival and its future direction. Ms Ng’s question addresses three key issues: First, the development of the Singapore Arts Festival into its present state; second, the cultivation of Singaporeans’ sense of ownership of the Festival; and third, the content and collaborations featured in the Festival. I will address these points in turn.
2 The Singapore Arts Festival has come a long way since its beginnings over 30 years ago as a national showcase that celebrates the local arts of our diverse communities. Over time, it has explored the invitation of international stalwarts, the commissioning of new local works, the inclusion of crowd-pleasers, as well as the revisit of seminal works by Singaporean writers. These have shaped the Festival’s direction, form and programming mix. Today, the Festival is a celebration of the arts with a distinctive Asian flavour, featuring bold and innovative collaborations. It is still evolving. Yet, at its heart, it remains a People’s Festival — a festival that is committed to the interests and aspirations of our people and resonant among artists and audiences alike.
3 Reflecting this, this year’s Festival was themed “Between You and Me”, and focused on fostering connections with artists and audiences, in order to nurture their sense of ownership of the Festival. To connect with artists, the Festival launched targeted platforms that facilitated deeper dialogue, collaboration and engagement on issues such as tradition and its continued relevance. To connect with audiences, the Festival introduced a year-long education and outreach programme to sustain its engagement with the public beyond the festival period, and to build communities of art lovers, art makers and art volunteers.
4 The Festival also seeks to foster a sense of ownership through its unique blend of home-grown works and international brand names, so that Singaporeans can be proud of the Festival’s international standing, and yet embrace it as their own. In addition, Singaporeans are invested in the Festival through active participation in Festival showcases and outreach activities. Notably, in the vein of embracing the creative spirit and promoting “Arts for All”, the Festival culminated in a Mega Line Dance closing event, which brought together 2,100 line dancers from all ages, backgrounds and walks of life.
5 Audience and critics alike appreciate the Festival’s increasing focus on quality local productions and accessible, interactive events. Over the years, the Festival has also garnered higher sponsorships than its predecessor. In spite of uncertainty following the economic downturn, sponsors and donors generously contributed over $1.7 million to this year’s Festival.
6 In terms of content and collaborations, the Festival strives to achieve a programming mix that appeals to a wide range of ages, cultures and artistic taste in order to engage all segments of the population. While international heavyweights such as Joshua Bell, Peter Brook and the Cloud Gate Theatre make their presence felt, regional and local productions are also rapidly making their mark in the Festival, with about half of the nine sold-out productions featuring artists from Southeast Asia. The wide appeal of Festival programmes is evident from the impressive 54% of sold out performances this year.
7 This year’s Festival also raised awareness of Singapore's performance heritage and history, prompting new audiences and long-time fans to look back at eminent Singaporean productions with fresh perspectives. Margaret Chan’s rendition of “Emily of Emerald Hill” sold out quickly, and garnered excellent reviews from both the media and audiences. Another seminal production, “Those who Can't, Teach”, by The Necessary Stage, also received a similar positive reception.
8 Collaborations are essential to achieving a programming mix that is both cutting-edge and resonant among Singaporeans. Collaborations with international partners provide a platform for creative dialogue between local and foreign artists, which seek to share experiences and spark inspirations for local productions with international appeal. To give an example, this year’s collaboration with the French Compagnie Carabosse [Com-pie-nee Ka-ha-bohs] for the opening event exposed the Singaporean volunteers and artists involved to new techniques and possibilities for public arts performances and installations. Collaborations with local audiences, by involving them in the incubation process, will also ensure the relevance of local productions to the Festival and its audiences.
9 Looking ahead, the Singapore Arts Festival will continue to strive to become the quintessential “People and Creation Festival”. The 2011 Festival is themed “I want to remember”, and will build on the many successful initiatives piloted this year. As the People’s Festival, the Arts Festival will continue to familiarise audiences with Festival productions, art forms and the creative process through the yearlong calendar of education and outreach events leading up to the 2011 Festival. As a Creation Festival, next year’s Festival will see new incubated works by Singapore’s finest artists and arts companies come to fruition.
10 In conclusion, I would like to assure Ms Irene Ng that we will carefully consider all feedback, consult with audiences, and continually review the format and programming of the Festival, to make it relevant to Singaporeans, for Singaporeans.
Notice Paper No. 75 of 2010
NOTICE FOR SITTING ON 19 MAY 2010
QUESTION NO. 401 FOR ORAL ANSWER
Mr Lim Biow Chuan: To ask the Acting Minister for Information, Communications and the Arts whether the Preservation of Monuments Board will consider preserving Fort Tanjong Katong as a national monument.
Answer
1 The Preservation of Monuments Board (PMB), now part of National Heritage Board (NHB), does not plan to gazette Fort Tanjong Katong (Fort) for the time being.
2 Excavation works were conducted in 2005 to ascertain the full extent of the underground Fort. The studies have since shown that part of the old Fort is located outside the Katong Park boundary and extends into State Land that is currently zoned for Residential Use. In 2008, then PMB recommended to keep the archaeological remains of the Fort buried, in line with conservation practice, to protect it from damage by further weathering or human interference. It was also established that there was no immediate threat to the Fort since there were no plans to develop the neighbouring residential site. In addition, NParks left the southeast Caponier, which is the most significant feature of the Fort, on display. Storyboards and signage were installed to explain the findings.
3 As there are considerable costs involved in undertaking full excavations to expose the structures and long term maintenance of such excavated structures, NParks will keep the Fort buried for the time being. The public can be assured that the PMB will continue to work closely with the agencies involved to address the long term future of the Fort, and ensure that its historical significance is appropriately recognised. Should there be any new developments affecting the site, NParks and URA would alert PMB, which would then decide on the direction for future archaeological investigations and preservation strategy to be adopted. I understand that the then PMB had also met with MP Lim Biow Chuan and members of the Mountbatten Citizen’s Consultative Committee to convey their decision to maintain the status quo for the Fort.
Notice Paper No. 50 of 2010
NOTICE FOR SITTING ON 26 APRIL 2010
QUESTION NO. 356 FOR ORAL ANSWER
Er Lee Bee Wah: To ask the Minister for Information, Communications and The Arts with the wide public interest in World Cup 2010 (a) whether the Government will provide the infrastructure for MIO TV to be available in all residential districts in Singapore; and (b) which are the districts where MIO TV is currently available.
Answer
1 Mr Speaker, Sir, I thank the Member for her question on consumer access to SingNet’s mio TV service in residential districts in view of the impending World Cup.
2 My understanding is that SingTel and StarHub have jointly bid for rights to World Cup 2010. If they succeed in their joint bid, the matches would therefore be available to subscribers on both platforms. In addition, some matches would be available on free-to-air television. The combined reach of StarHub, SingTel and MediaCorp’s networks should ensure that all viewers will be able to watch World Cup 2010.
3 SingNet’s mio TV is a commercial subscription pay TV service, and it remains for SingNet to determine how best to deploy its infrastructure to deliver the service to its subscribers. I understand that mio TV is currently available to about 97% of the residential households in Singapore.
4 The remaining 3% of residential households unable to receive mio TV includes pockets of residences within the mio TV coverage area. This is because these residences are situated far from SingTel’s telephone exchanges where special broadband equipment is installed to enable the delivery of mio TV service.
5 To deliver mio TV to these households, SingNet therefore has to find alternative locations and obtain the necessary permits to install the broadband equipment, and this usually takes some time. I understand from the Media Development Authority that SingNet is working on progressively improving its coverage over the coming months.
6 SingNet had publicly committed to providing coverage of mio TV island-wide by the end of July 2010, and I certainly hope to see them meet this commitment.
NOTICE PAPER NO. 63 OF 2010
NOTICE FOR THE SITTING ON OR AFTER 27 APR 2010
QUESTION NO. 385 FOR ORAL ANSWER
Mr Viswa Sadasivan: To ask the Acting Minister for Information, Communications and the Arts (a) what the Government's response is to the recent Al Jazeera International TV reports on homeless Singaporeans camping by the East Coast beach stretch; (b) how these reports have affected our standing and reputation internationally; and (c) whether the Ministry will address the speculation on the ground that this was the reason why the channel was taken off MIO TV's menu.
Answer
1 Mr Speaker Sir, the Minister for Community Development, Youth and Sports has highlighted the assistance that the Government offers to the homeless. Let me now address the other questions on Al Jazeera.
2 On the Al Jazeera report, I would say that this is not unexpected given their penchant for sensationalising such stories and being selective with the facts. Regardless of how Al Jazeera reports on Singapore, the Government’s track record speaks for itself. An international study published in January this year by global PR firm Edelman showed that Singaporeans’ trust in the Government is the highest among 22 countries polled, at 84 per cent compared to the global average of 49 per cent. The IMD World Competitiveness Yearbook 2009 ranked Singapore the most transparent country in the world.
3 On the speculation that recent critical or negative reports by Al Jazeera were the reason why the channel was taken off mioTV service, this is unfounded. In a report by TODAY, Al Jazeera itself was quoted as saying that “it was a ‘mutual’ decision between Al Jazeera and SingTel for the broadcaster to drop out of the latter's pay TV service. Al Jazeera’s contract with SingTel was coming to an end, and in view of the low number of subscriber households, it saw the need to look into other distribution avenues”.
NOTICE PAPER NO. 62 OF 2010
NOTICE FOR THE SITTING ON 26 APRIL 2010
QUESTION No. 377 FOR ORAL ANSWER
Ms Audrey Wong Wai Yen: To ask the Minister for Information, Communications and The Arts (a) what are the visitor numbers to the Malay Heritage Centre for the past four years; (b) what can be done to increase its public visibility; and (c) whether an update on the progress of development of the Indian Heritage Centre can be provided.
Answer
1 I would like to thank Ms Audrey Wong for her interest in our Community Heritage Institutions.
Malay Heritage Centre
2 The Malay Heritage Centre received more than 418,000 visitors over the last four years. These visitors comprise Singaporeans and foreigners, including members of the Malay diaspora. It is especially encouraging that in FY09, the centre had more than 127,000 visitors, a 37% increase over the FY08 number. These figures indicate a strong and growing interest in Malay culture and heritage among Singaporeans and foreigners alike.
3 Since 2009, the National Heritage Board (NHB) has been tasked with operating the Malay Heritage Centre (MHC) on behalf of its owners, the Malay Heritage Foundation (MHF). As the managing agent for the centre, NHB manages the centre’s operations, and provides curatorial and programming direction.
4 NHB recently commissioned a museum design and planning consultancy study to explore ways through which to boost the centre’s programmes, operations and profile. The study resulted in two key recommendations.
5 The first calls for the MHC to better leverage its location in the bustling and vibrant Kampong Glam neighbourhood to reach out to and connect with the increasing numbers of young visitors and tourists who regularly visit the area. The second recommendation involves coming up with more engaging ways to celebrate and showcase all facets of Malay arts, culture and heritage, to maximise the centre’s appeal to local and international audiences.
6 In light of the study’s findings, the MHC will undergo a major re-development to increase its accessibility and visitor appeal. The re-development will be carried out in consultation with the board members of the Malay Heritage Foundation, as well as other leaders and representatives of the Malay community. The MHC will close in phases from November for the renovations and work is expected to be completed within one year.
7 Please allow me to briefly share with you some of the exciting plans in store. A new permanent display will highlight the cosmopolitan nature of the Singapore Malay community, and emphasise the rich urban history of the Kampong Glam neighbourhood. A theatre will be built to provide performing space for artists and community groups. The centre’s gardens will be re-designed to provide more space for outdoor programmes and facilitate interaction with the surrounding community. The Chairman of the Malay Heritage Foundation, Senior Minister of State for Foreign Affairs Mr Zainul Abidin Rasheed, will announce the full details of the development plan in July this year.
8 I am confident that these renovations will make the centre more relevant and attractive to visitors.
Indian Heritage Centre
9 On the Indian Heritage Centre, plans for the construction of the centre are underway. The Indian Heritage Centre’s Steering Committee, chaired by Senior Minister of State Dr Balaji Sadasivan, was formed in January 2009 to oversee the development of the centre. As in the case of the Malay Heritage Centre, NHB has been appointed to manage and provide programming and curatorial direction to the Indian Heritage Centre.
10 A site at Campbell Lane in the heart of Little India has been identified for the location of the centre. This is an ideal site, since the centre will function as a focal point for the showcasing of the rich history, traditions and culture of the Singapore Indian community.
11 The centre, when ready, will house exhibition and performance spaces, as well as public areas for visitors and members of the community to interact and mingle in. An architecture competition will be called in October 2010 this year to select the design for the centre, and construction is expected to commence in late 2011.
12 For its part, NHB has been developing content for the displays and permanent exhibition spaces. NHB has been meeting and interviewing Indian community leaders for their valuable memories and contributions. NHB has also been engaging a wide variety of Indian community organisations – including religious groups, cultural bodies and educational institutions – to ensure that a representative and diverse narrative of the Singapore Indian community will be presented to future visitors of the centre.
NOTICE PAPER NO. 11 OF 2010
Mr Zaqy Mohamad: To ask the Acting Minister for Information, Communications and the Arts (a) how often the Media Development Authority (MDA) reviews the funding for public broadcasting of Malay and Tamil programmes; (b) when was the last time the funding was reviewed for both types of programmes and what was the increase in funding to improve the quality of programmes by MediaCorp; and (c) compared to English and Mandarin channels, what is the proportion of re-run programmes on the Malay and Tamil channels during prime time and off-peak periods.
Answer
1 Suria and Vasantham are important channels that reflect our multi-cultural heritage and multi-racial society. They offer relevant Malay and Tamil programmes for these two communities. To support these two channels, the Media Development Authority (MDA) provides public service broadcast (PSB) funding for the production and acquisition of quality programmes, such as news, current affairs, drama and children’s programmes.
2 Together with MediaCorp, MDA carries out annual reviews of the funding for PSB programmes across all MediaCorp’s TV channels. These annual reviews ensure that the programmes continue to be of high standards and of relevance to Singaporeans.
3 MDA also conducts periodic studies to assess the state of MediaCorp’s TV channels. The launch of Vasantham as a stand-alone channel in 2008 was a recommendation of such a study. As a result, Vasantham’s local programme hours have more than doubled from 30 hours to 65 hours a week, and the channel also offers a wider variety of Tamil programmes.
4 To provide greater support for quality local Malay and Tamil programmes, MDA has increased FY 10 PSB funding for Suria and Vasantham by about 12% and 27% respectively compared to FY08. Besides supporting MediaCorp’s launch of Vasantham as a full-fledged channel, the increase in funding had improved the quality and diversity of programmes for both channels, and reduced the repeat rates.
5 On repeat rates during prime time and off prime time, these vary across Mediacorp’s channels depending on the strategy adopted by each channel. For repeat rates during prime time, Vasantham’s is now at a level comparable to that for Channel 8. For Suria, whilst the repeat rate is higher, it is comparable to Channel 5 and CNA.
6 Ultimately, the true test is whether the viewership for Suria and Vasantham has improved. On this count, both Suria and Vasantham have done well, increasing their viewership over the past few years. In 2007, Suria’s viewership averaged about 40,000 Malay viewers during prime time; this has increased by more than 65% to about 67,000 viewers last year. Over the same period, Vasantham’s prime time viewership, which averaged about 24,000 Indian viewers before its launch as a standalone channel, had increased by about 50% to 36,000 viewers currently.
7 Mr Speaker Sir, I would like to assure the House that MDA will continue to review its funding support for PSB programmes on Suria and Vasantham, as well as the rest of MediaCorp’s channels, so that Singaporeans have every opportunity to enjoy a wide variety of high quality local programmes.
NOTICE PAPER NO. 10 OF 2010
NOTICE FOR THE SITTING ON 22 FEB 2010
QUESTION NO. 316 FOR WRITTEN ANSWER
Mr Zaqy Mohamad: To ask the Acting Minister for Information, Communications and the Arts (a) whether he will provide an assessment of the Government's progress in the dissemination of news and public information in the online media; and (b) how does his Ministry assess the effectiveness of the level of outreach in the online media compared to the mainstream channels of news publications and public broadcast channels.
Answer
The Government uses both the mainstream and online media to disseminate news and public information. Since 1995, the Singapore Government has maintained an online presence, starting with websites which are now known as Web 1.0 platforms. As technology evolved, Ministries and government agencies have complemented their websites by increasingly tapping on a wide range of Web 2.0 platforms to communicate and engage with the public. These include popular and interactive social media platforms such as Facebook, YouTube, Twitter, Flickr, podcasts, Wikipedia and so on. The government’s online presence is used to provide information and explanation about government policies, for public education, outreach and campaigns, crisis communications and public consultation.
2 In 2009, during the H1N1 episode, the Ministry of Health and the Health Promotion Board provided information, regular updates and advisories to the people via its MOH website, the crisis.gov.sg website, a dedicated H1N1 website and through various social media platforms. In the lead-up to the National Day Parade, the organising committee used a variety of social media channels and a Web 2.0-equipped microsite to reach out to Singaporeans. For the National Day Rally Speech by PM, the Government also tapped on a variety of social media platforms to bring the speech live to netizens and to encourage online feedback and discussion. Various social media platforms will also be used to promote upcoming events this year, such as the Youth Olympic Games.
3 REACH has revamped its website and it also has a presence on Facebook and Twitter. It will also introduce new features and services to make its portal even more user-friendly for the public to give feedback to and engage with the Government. The www.gov.sg website is undergoing a revamp, and serves as the official online communication platform of the Government, providing a one-stop portal access to government information and services and key feedback channels.
4 Mr Speaker Sir, both the mainstream and new media are important avenues to disseminate news and public information. The latest Nielsen Media Index survey conducted between July 2008 – June 2009 indicated that the readership of newspapers in Singapore has remained steady with 75% of the local population choosing newspapers as their preferred source of news. According to the 2010 Edelman Trust Barometer, 68 per cent of local respondents[1] cited newspapers as their most trusted sources of information in Singapore, compared to the international average of 34 per cent for newspapers.
5 The online versions of our newspapers also saw a significant rise in readership from 282,000 visitors daily in 2008 to 408,000 visitors daily in 2009, a rise of about 45 per cent[2], with four key websites – straitstimes.com, AsiaOne, Stomp and RazorTV – seeing 5.2 million unique visitors in January[3]. The latest data from online traffic tracker HitWise found CNA, AsiaOne, ZB, ST, Stomp, BT, MyPaper among the top 10 “news and media” sites most visited by Singaporeans. With more Singaporeans, particularly those in the younger age groups, turning to multiple sources for information, both offline and online, it is important for the Government to take a holistic approach and leverage on both the mainstream media and online media to reach out to Singaporeans.
[1] 2010 Edelman Trust Barometer – 200 respondents were polled in Singapore. Sample selection: college-educated; household income in the top quartile for their age; read or watch business/news media at least several times a week; follow public policy issues in the news at least several times a week. Methodology: 25-minute telephone interview took place from Sept 29 – Dec 6 2009.
[2] Source: Nielsen Media Index 2009.
[3] As reported in The Straits Times, 12 Feb 2010, “SPH English websites draw record-high views”
NOTICE PAPER NO. 10 OF 2010
NOTICE FOR THE SITTING ON 22 FEB 2010
QUESTION NO. 315 FOR WRITTEN ANSWER
Mr Zaqy Mohamad: To ask the Acting Minister for Information, Communications and the Arts what are his Ministry's plans to ensure long-term sustainability and credibility of the mainstream media.
Answer
The fast-changing media landscape and the more recent economic crisis are two of the most immediate challenges to Singapore’s mainstream media companies. As commercially-driven companies, they have to be innovative and exploit new business opportunities to remain viable. For example, the Singapore Press Holdings, or SPH, was quick to launch online versions of The Straits Times, Business Times and Lianhe Zaobao. MediaCorp also has an online version of TODAY newspaper.
2 While media companies in other countries encountered financial difficulties, we had avoided the same through prudent management and a sound working relationship between employers and staff. Readership of our local dailies, both offline and online, is healthy. Readership of the newspapers has gone up by 5 per cent between 2008 and 2009 while that for their online versions has increased by 45 per cent during the same period.
3 Mr Speaker Sir, the readership of our local newspapers has remained strong despite the multitude of news sources on the Internet. According to the latest Nielsen Media Index survey conducted between July 2008 and June 2009, 75 per cent of those surveyed selected newspapers as their preferred source of news. At the same time, online news portals such as ChannelNewsAsia.com and AsiaOne have consistently ranked among the top “news and media” websites visited by Singaporeans[1].
4 There are many reasons why this is so. One key reason is that the mainstream media in Singapore has continued to remain a trusted news source. The mainstream media is accurate, timely and balanced in their reporting. A Business Times article on 5 Feb 2010 reported a survey[2] conducted by the US-based Public Relations firm, Edelman, which revealed that 68 per cent of the respondents in Singapore found newspapers to be the most trusted source of information. This is significantly higher than the international average of only 34 per cent which trusted newspapers as a credible source of information.
5 MediaCorp has also been quick to reinvent itself. In October last year, it launched MediaCorp NewsHub, the first of its kind in Asia. As a one-stop centre for news content that cuts across the print, radio, television and Internet platforms, the news hub provides the public with access to the latest news - anytime, anywhere - from radio, TV, print, and online platforms, ranging from bite-sized information and video clips to in-depth stories and analysis.
6 As a content provider for entertainment purposes, MediaCorp has done well by continuously reviewing and refreshing its programming strategies. Viewership for its TV channels has remained high, garnering nearly 80 per cent of resident population annually over the past two years. MediaCorp’s radio stations also enjoy strong growth in listenership over the past two years, with more than 3.6 million listeners every day.
7 In conclusion, it is important for Singapore’s mainstream media to remain commercially sound through prudent practices, to be the trusted source of news and information and to produce high quality work in order to remain the most attractive and popular choice of the people.
[2] The survey polled 200 people in Singapore and a total of 4,875 worldwide, including the US, Britain, China and India.
NOTICE PAPER NO. 292 OF 2009
Mr Christopher de Souza: To ask the Acting Minister for Information, Communications and the Arts what will the Censorship Review Committee do to obtain the views of the average Singaporean who may not necessarily be part of an organised campaign to liberalise censorship as opposed to just receiving feedback from such organised campaigns.
Answer
The Censorship Review Committee, or CRC, was appointed in September last year to conduct a mid-term review of content regulation issues across the spectrum of broadcast, films, videos, publications, audio materials, the arts and new media. In addition to recommending refinements to existing content policies and standards, the committee is also expected to propose ways to improve community engagement, public education and industry co-regulation.
2 Like previous CRCs, it is important that this CRC seeks public feedback from a cross section of our society. Hence, the committee has conducted eight focus group discussions with representatives not just from the industry, but also the community, to gather views and suggestions from them. For the community groups, discussions were held with parents, educators and youths. In addition, the CRC has consulted with the various advisory committees of the Media Development Authority, whose members come from all walks of life, and understand our community’s concerns and sensitivities relating to content across the various mediums.
3 The CRC has also been receiving feedback at its website from members of the public since the website was launched last month. I would like to encourage Singaporeans to give their views and suggestions to the CRC via the website at www.crc2009.sg.
4 In addition, the CRC will be commissioning a nationwide survey this month to seek the public’s views on major content issues and content standards. The survey’s sample size will be representative of the Singaporean population.
5 Mr Speaker Sir, I would like to assure Mr de Souza and the House that the CRC will seek views and suggestions from the various segments of our society so that the committee’s recommendations will reflect our societal norms and values. Let me emphasise that fundamentally, it is societal norms and values that shape our content standards and the extent to which we should liberalise or tighten up. While certain groups may be more vocal, it is important that we listen to and recognise the concerns of other groups in our community as well, and strike the right balance.
6 I am confident that the CRC will consider all views fairly and objectively, and ensure that our content standards and regulation are in tune with the times, but at the same time, reflect and uphold our societal norms and values.
NOTICE PAPER NO. 253 OF 2009
NOTICE FOR THE SITTING ON 23 NOVEMBER 2009
QUESTION No. *191 FOR WRITTEN ANSWER
*191. Dr Ong Seh Hong: To ask the Acting Minister for Information, Communications and the Arts (a) how many Malay and Indian arts and cultural shows have been carried out in Singapore for the last one year; and (b) what will be done to promote more of our Malay and Indian cultural shows.
Answer
1 I would like to thank Dr Ong Seh Hong for his interest in Malay and Indian performing arts and culture.
2 In 2008, there were approximately 650 ticketed and non-ticketed Malay and Indian arts and cultural shows staged in Singapore, or nearly two shows per day. These shows included dance, theatre, classical music performances and cultural concerts.
3 Traditional art-forms underpin Singapore’s rich cultural diversity and our national identity. We will continue to develop and promote traditional arts through financial assistance, capability development and showcasing opportunities.
4 A new Traditional Arts Fund provides $2.5 million in funding support from 2008 to 2012 for ethnic arts groups. In addition, ethnic arts groups receive financial assistance through grants administered by the National Arts Council (NAC). In 2008, nearly $1 million was devoted to supporting Malay and Indian performing arts events and training activities. This comprised more than $560,000 from grants and the Traditional Arts Fund, and more than $400,000 in arts housing subsidies.
5 The National Heritage Board also provides funding and administrative expertise to support the Sun Yat Sen Nanyang Memorial Hall at Balestier, Malay Heritage Centre at Kampung Glam and a planned Indian Heritage Centre at Little India, all of which serve as focal points for arts and culture events for the respective communities.
6 A pool of well-trained arts practitioners will contribute towards the growth and sustainability of traditional arts. Therefore, we invest in capability development by developing programmes to upgrade the skills and knowledge of our local practitioners, working with partners such as the People’s Association. In 2008, NAC co-organised eight professional training programmes attended by a total of 457 established and emerging talent.
7 Finally, we provide our arts groups with opportunities to be showcased. NAC’s Arts for All Community Programme facilitates collaborations between grassroots organisations and established traditional performing arts groups on performances. The annual HeritageFest organised by NHB incorporates dedicated segments by ethnic arts groups, whilst the Esplanade organises ethnic arts festivals. Pesta Raya – Malay Festival of Arts - and Kalaa Utsavam – Indian Festival of Arts, featured more than 140 local and international acts in 2008. There are also opportunities for arts groups to be showcased overseas. In August, traditional Malay groups Sriwani and Sri Mahligai represented Singapore at the 11th Asia Arts Festival in China.
8 I would like to encourage Dr Ong and my Parliamentary colleagues to lend their support to the many platforms that showcase traditional arts performances and talents.
NOTICE PAPER NO. 253 OF 2009
NOTICE FOR THE SITTING ON 23 NOVEMBER 2009
QUESTION NO. 239 FOR WRITTEN ANSWER
Ms Audrey Wong Wai Yen: To ask the Acting Minister for Information, Communications and the Arts (a) whether his Ministry has statistics on the current number of freelance workers in the arts and creative sectors; (b) whether his Ministry has conducted studies on the contributions of freelancers in these sectors as well as their working conditions, such as average pay and CPF contributions, and if they have been affected by the economic downturn; and (c) if his Ministry has any plans to look into these freelance workers’ needs, given that the arts and creative sectors are set to grow in the future.
Answer
1 Mr Speaker, Sir, I thank the Nominated Member for her interest in the situation and needs of freelancers in the arts and creative sectors.
2. We have seen the nature of work evolve in recent times. One of the major changes we have witnessed is the increasing prevalence of freelancing.[1] This trend is especially clear in industries like arts, design and media, where work and employment tend to be more project-based. Indeed, international studies have shown that freelancers play a significant role in these sectors across the world.[2]
3. This trend holds true in Singapore as well. A MICA-commissioned study on freelancers across the arts, media, design and software and IT services sectors in Singapore was completed by NUS in 2007. While the dynamic nature of freelance work complicates the process of estimation, the study found that freelancers could constitute up to one-third of the workforce in the creative industries.[3]
4. The study also shed some light on the working conditions of freelancers. Among other things, it found that freelancers tend to be versatile and work in more than one sector[4], and depend heavily on personal contacts and networks to secure clients.[5] Freelancers also face a large extent of variability in obtaining work and income. For example, a significant portion of freelancers (31.5%) reported that there is no typical year in terms of income. Similarly, a sizeable portion (41.1%) indicated that they face a variable number of clients each year.
5. While this study was conducted before the onset of the economic downturn, anecdotal evidence has led MICA to believe that its findings are just as relevant today. The study noted that the main difficulties faced by freelancers were related to remuneration and information gaps.[6] These issues continue to be pertinent and pressing, even as we emerge from the trough of the economic crisis.
6. MICA has taken these findings seriously, and put in place plans to help freelancers. We have worked with the private sector to develop a Creative Industries Freelancer Network (CIFN). The CIFN aims to address some of the concerns of freelancers, by providing avenues for them to acquire more information, contacts and capabilities. It will provide a contact database and services such as training courses and networking opportunities with potential employers. The CIFN portal is currently in development, and will be tested and rolled out to the public in phases from January 2010.
7. Freelancers are also able to tap on a range of capability development and assistance schemes offered by MICA agencies. These include the Media Development Authority’s (MDA) Media Training and Attachment (META) programme, the DesignSingapore Council’s (DSG) Capability Development Programme, and the National Arts Council’s (NAC) Arts Creation Fund and International Artist Residency Programme. MICA will continue to explore ways to supplement these programmes, as part of our constant drive to develop the creative industries.
[1]Freelancers are defined as including:
a. those who are in full-time employment but who take on ad-hoc projects that are not a part of their duties of full-time employment;
b. those who are “full-time freelancers”; and
c. those who have sole proprietorships and take on individual projects independently.
[2] A 2002 survey shows that 28% of New York’s creative industries workforce was self-employed (Centre for Urban Future, 2005:6). In 2004, London’s equivalent figure was 20%, while the overall for UK was about 30% (London’s Creative Sector Update Report, 2004:20). A 2001 report of the European Commission indicated that, for the EU-15, there were 1.3 freelancers for every regular employee in the TIMES sector (telecommunication, internet, multimedia, e-commerce, software and security)
[3] Based on surveyed establishments’ declaration of the number of full-time employees and freelancers employed, the total number of freelancers as a proportion of CI manpower is estimated to be 33%. This translates to about 29,000 freelancers in CI. However, these figures are high estimates as individual freelancers could have been counted multiple times.
[4] 75.1% of freelancers surveyed reported freelancing in more than one sector.
[5] 87.5% of freelancers surveyed indicated that clients were secured largely through personal contacts, and 84.1% indicated referrals.
[6] The top five difficulties encountered by freelancers surveyed were: not being paid in a timely way (68.2%); not being paid adequately (62.3%); lack of benefits (59.8%); insufficient jobs/insecure income (58.3%), and unclear industry price benchmarks (54.5%).
NOTICE PAPER NO. 253 OF 2009
NOTICE FOR THE SITTING ON 23 NOVEMBER 2009
QUESTION NO. 240 FOR WRITTEN ANSWER
Ms Audrey Wong Wai Yen: To ask the Acting Minister for Information, Communications and the Arts (a) whether the Ministry is studying the impact of the recession on the arts sector as a whole including the impact on independent arts companies and commercially-organised events; (b) how the Ministry plans to encourage more philanthropic giving and sponsorship of the arts; and (c) whether the proposed online donation portal for the arts duplicates the current online donation portal set up by the National Council of Social Services, and if there are plans to co-ordinate the two portals.
Answer
1 I would like to thank Ms Audrey Wong for her interest in the sustainability and growth of the arts sector.
2. MICA had expected the recession to adversely impact the arts industry and was committed to sustaining the arts during this difficult period by increasing our level of funding support. New initiatives were launched in 2008 and 2009 to support the arts industry under the ambit of the Renaissance City Plan III. The National Arts Council (NAC) launched the International Arts Residency programme, the Arts Creation Fund to seed new works and the Arts For All programme to engage the community through the arts and culture. However, MICA recognises that the growth of the arts and cultural sector is a shared responsibility between the government, private and people sectors. I will elaborate on this later in response to your other questions.
Impact of the Recession
3. While no study was specifically commissioned to look into the impact of the recession on the arts industry, NAC's annual collection of statistics allowed us to draw some broad conclusions about the arts industry. On the whole, our local arts scene has not been significantly impacted by the recession, as growth – although small in some areas – was seen in overall ticketed attendances, ticketed performances, visual arts activities and arts-related companies and societies. However, there was a decline in total ticket sales value recorded by SISTIC and Gatecrash as arts companies adjust ticket pricing downwards.
4. The main findings reported in the 2008 Cultural Statistics Round-up are that:
Cultural Philanthropy
5. With regard to the question on philanthropic giving and sponsorship, this is an area which MICA is taking a more comprehensive approach to build greater community ownership for the arts. While there are already some incentives in place, such as the double tax deduction scheme, we will continue to identify new schemes and opportunities to make it easier for people to come forward to contribute.
6. The newly established Arts & Culture Development Office (ACDO) in MICA will strategise, coordinate and facilitate the building of greater public, private and people partnerships to broaden and deepen the support base for arts and culture. In the longer term, the office will also provide an advisory role to arts and culture organisations on building up their capabilities in fund-raising and alliance building.
7. The ACDO will launch a Cultural Philanthropy portal. It is being designed to complement the donation portal set up by the National Council of Social Services and will be linked to it. There is a huge untapped potential in individual donation to the arts and culture sector[5]. This dedicated portal will make it easier for the public to lend support to arts and culture through donations, big and small. Beyond facilitating donations, the portal will also be a platform for more Singaporeans to volunteer their time, skills and resources in a broad range of arts and cultural programmes.
8. Cultural philanthropy is an important component of enabling an engaged and gracious community. Over time, we hope that our efforts, such as the donation and volunteer management portal, will lead to building a stronger spirit of giving amongst Singaporeans, more private individuals and organisations engaging with arts and culture, and recognising the value that it brings to the community.
[1]In general, the visual arts scene enjoyed robust growth over the last three years, with the number of exhibitions rising by an average of 18% every year.
[2]Over two earlier periods, 1997 – 1999 and 2000 – 2002, the number of arts societies and companies generally hovered at the 400 and 500 mark respectively.
[3]Despite the growth in ticketed attendance, the number of tickets for performing arts events sold by SISTIC and Gatecrash fell by 13% from 2007. With average ticket prices also dropping from S$62 to S$56, total ticket sale value recorded by SISTIC and Gatecrash decreased by 22% from S$48m in 2007 to S$38m in 2008.
[4] Nevertheless, the total number of performances in 2008 (6,864) was still higher than the number in 2006 (6,556), 2005 (6,410) and 2004 (5,105).
[5] The current giving to arts and culture come largely from corporations and grant makers. Only 5% comes from individuals. This is in stark contrast to the national figures for all sectors which show that 46 % of the $958 million donations in 2008 came from individual giving.
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ORDER BOOK NO. 13 OF 2009
NOTICE FOR THE SITTING ON 19 OCTOBER 2009
QUESTIONS NOS. 136, 206 AND 208 FOR WRITTEN ANSWER
NOTICE FOR THE SITTING ON 12 JAN 2010
QUESTION NO. 279 FOR ORAL ANSWERNOTICE FOR THE SITTING ON 3 MAR 2010
QUESTION NO. 317 FOR ORAL ANSWER
Mr Calvin Cheng: To ask the Acting Minister for Information, Communications and the Arts what is being done to address the concern that the exclusive sale of football broadcasting rights has driven up prices and reduced choices, to the detriment of consumers in Singapore.
Mr Zainudin Nordin: To ask the Acting Minister for Information, Communications and the Arts given the recent successful bid by SingTel to telecast the English Premier League football matches (a) how do the consumers in general benefit from the competition among the pay-TV retailers; (b) whether the media market is large enough to sustain such competition; and (c) how does this competition compare to the ill-fated experiment of SPH's MediaWorks and MediaCorp.
Dr Lim Wee Kiak: To ask the Acting Minister for Information, Communications and the Arts with the competitive bidding for popular overseas sports channels by SingTel and StarHub (a) what is the Ministry doing to ensure that subscriptions to the sports channels remain affordable to the majority of Singaporeans; and (b) whether the Government will consider providing free viewing of selected games on MediaCorp TV during key sporting events, especially World Cup soccer matches.
Answer
1 Mr Speaker, Sir, I thank the Members and Nominated Member for their questions and concern for consumers affected by the exclusive sale of football broadcasting rights in the pay TV market .
2 First, let me address the concerns that are topmost on the minds of sports fans, that is, the subscription cost of the sports packages and termination charges for those locked into contracts with StarHub Cable Vision (or SCV).
3 MICA and the Media Development Authority (or the MDA) shares consumers’ concerns. Hence, following the announcement of the outcome of the English Premier League bid, the MDA had asked SingTel to provide early clarification on the pricing of their sports packages, so as to assess whether any intervention would be necessary to protect consumers’ interests. I note that SingTel announced its pricing plans last week, offering viewers the choice of a standalone English Premier League channel or a full sports package, both at prices comparable to SCV’s current sports package charges. SingTel has also offered their customers UEFA Champions League and UEFA Europa League at no additional cost if they sign up for a one-year contract. Most consumers will thus not be adversely affected.
4 Separately, the MDA had also asked SCV to provide clarity on their termination charges for subscribers who may wish to switch subscription plans. SCV has since announced that they will not be charging any early termination fees for subscribers of sports packages who cancel their service after July next year.
5 Dr Lim had also raised the question of whether Government will consider providing free viewing of selected games on Mediacorp TV during key sporting events, especially World Cup 2010.
6 The MDA requires key sporting events[1] to be made available for free-to-air television. These include the Olympic Games and SEA Games. Specific to World Cup, I understand that the terms of the World Cup broadcast rights include the requirement for selected key matches to be made available on free-to-air television. These include the opening, two semi-finals and final matches of World Cup 2010.
7 Let me now address the questions raised on competition in the pay TV market. Competition in the pay TV market has been evolving since SingTel entered the market in 2007. Prior to 2007, SCV carried a total of 99 TV channels, of which only 3[2] were on sporting events. Today, with competition, consumers have access to a wider and more diverse choice of programmes available on 179 channels, of which more than 13 are focused on sporting events.
8 Competition has also provided consumers with higher quality and innovative content, as well as more flexibility in viewing choice. High-Definition (or HD) content is increasingly being made available on both platforms. Consumers are now able to catch some of the latest episodes of hit Hollywood series as early as 24 hours after their US telecast. Consumers can now choose from a range of viewing options, from subscription tiers to á la carte channels to pay-per-view content and cross-platform access[3].
9 The question of whether Singapore’s media market is large enough to sustain competition is really one that will be best answered and determined by the operators over the course of time. In the case of SPH’s MediaWorks and MediaCorp, they decided that the free-to-air television market was not large enough to sustain both players, and hence made a commercial decision to consolidate. For the pay TV market, the competition landscape is still evolving. It is inappropriate to conclude at this stage that the market is too small to sustain competition. The operators will continue to be driven by market share and profitability and will no doubt be constantly reviewing their position as the pay TV market evolves.
10 Late last year, the MDA commissioned a study on competition issues and are currently exploring various short and long term regulatory options.
11 Let me take this opportunity to share with the House some of the issues that the MDA has to consider in reviewing the various regulatory options. They include foreign content owners’ rights, Singapore’s obligations to abide by international conventions that protect such rights, and commercial agreements for broadcast of sports events.
12 Singapore is signatory to a number of international conventions in intellectual property protection which require us to protect the rights of copyright holders, including their exclusive right to authorise their works in the manner they choose. These apply to both content owners such as the Football Association Premier League (or FAPL), and channel providers such as Discovery Asia and the Star Group.
13 In the case of the English Premier League, the FAPL dictates, to a large extent, the terms of the agreement, including the sale of exclusive rights in Singapore, and the ability of pay TV retailers to share content. The MDA has to give due consideration to these commercial agreements as they involve international content owners who are not our licensees.
14 The MDA is also monitoring international developments on this issue. Countries such as UK and France are facing similar issues with content exclusivity in their respective pay TV markets. The UK has, in fact, been holding consultations as to whether to impose regulatory measures in the market since January 2007, and has still yet to arrive at a decision. The MDA’s goal remains to find an effective solution that best addresses consumers’ concerns while fulfilling our international and commercial obligations.
[1] Events considered to be of national significance are placed on an anti-siphoning list.
[2] These three were ESPN, STAR Sports, SuperSports. Football channel was considered part of SuperSports.
[3]Cross-platform access refers to the same content being made available for viewing via TV, internet and mobile. SCV makes EPL content available to subscribers over these three platforms.
NOTICE PAPER NO. 215 OF 2009
NOTICE FOR THE SITTING ON 19 OCTOBER 2009
QUESTION No. 210 FOR ORAL ANSWER
Mr Arthur Fong: To ask the Acting Minister for Information, Communications and the Arts (a) what is the operating profit/loss of the Esplanade since its inception; (b) how has the poor economy affected the Esplanade and its operations; and (c) whether the various programmes organised by the Ministry have brought about an increase in Singaporeans' interest and translated to an increase in ticket sales at the Esplanade.
Answer
1 I would like to thank Mr Arthur Fong for his interest in the Esplanade and its operations.
2 The Esplanade Co Ltd is registered as an Institution of Public Character and is a non-profit organisation, not a profit-driven commercial enterprise. Being an arts centre for everyone, Esplanade fulfills several key social and national objectives. It thus continues to receive government and Tote Board funding.
3 Esplanade’s revenue comes from ticket sales, sponsorship and other sources, such as rental income. Annually, about half of its operating expenditure is covered by revenue while government grants make up the balance. With careful planning and prudent financial management, Esplanade has managed to operate within its revenue and grant quantum, without incurring any deficits since its inception. In FY 2008, Esplanade’s operating expenditure was $63 million, earned income was $24 million and grants accounted for $40 million.
4 Nonetheless, the economic downturn has severely affected sponsorship income. The Esplanade had lost regular corporate sponsors, particularly financial institutions and multi-national corporations. In addition, several large, long-running commercial productions had also pulled out as promoters became more risk-averse. While Esplanade managed to secure other bookings to cover these cancellations, these did not generate the same amount of revenue.
5 Despite these, the Esplanade has not cut back on programming. Instead, it has adjusted ticket prices downwards and stepped up free programmes to provide respite to audiences and opportunities to performers. It has also not committed to big ticket shows which charge premium pricing. Esplanade has also carved out unconventional spaces such as its rooftop for lease, stepped up mall promotions and gave out rebates to help its tenants tide over this difficult time.
6 On Singaporean’s interests in arts and ticket sales at the Esplanade, MICA takes a long-term view in building audiences and raising the level of arts appreciation and engagement among Singaporeans. We already have various programmes such as the NAC’s Arts for All - Community Engagement Plan and the Arts Education Programme. Together with the increased free outreach performances and excellent programming, these efforts have helped increase attendances at the Esplanade. Gross ticket sales at the Esplanade in FY 2008 were $27 million, as compared to $18 million in FY 2003, following the Centre’s first complete year of operations. Correspondingly, the total attendance in FY 2008 was around 1.7 million, compared to 900,000 in FY2003.
7 I would like to encourage Mr Fong and other Members of Parliament to continue to support and enjoy Esplanade and other arts programmes and activities.
NOTICE PAPER NO. 146 OF 2009
NOTICE FOR A SITTING ON 14 SEPTEMBER 2009
QUESTION NO. 169 FOR ORAL ANSWER
Ms Joscelin Yeo: To ask the Acting Minister for Information, Communications and the Arts what action is his Ministry taking to balance the rise of the gaming industry with events such as the World Cyber Games (WCG) and the social effects of excessive gaming.
Answer
1 Mr Speaker, Sir, I thank the Nominated Member for her interest in the Government’s efforts to balance the rise of the gaming industry and the social effects of excessive gaming.
2 First, let me talk about the games industry. According to global estimates[1], the video game market in Asia-Pacific will be the fastest growing region over the next five years, with a 9.4% compounded annual growth rate, and increasing from US$15.7 billion in 2009 to US$24.7 billion in 2013.
3 The Media Development Authority (MDA) and the Infocomm Development Authority (IDA) have been working together to position Singapore as the hub for the games industry in the Asia-Pacific region. They have supported events such as the Games Convention Asia and World Cyber Games as these provide opportunities to further develop our people in this sector and for our games companies to network and form possible collaborations with those from overseas.
4 Today, the local games industry comprises close to 30 home-grown game development companies such as Mikoishi and Nabi Studios, and some locally developed games have gone on to gain international recognition.
5 In addition, initiatives such as Singapore-MIT GAMBIT Game Lab provide avenues for Singaporeans to be engaged in areas of innovative and multi-disciplinary research projects focused on games development. “CarneyVale: Showtime” for example, was developed by a group of Singaporean students from the Singapore-MIT GAMBIT Game Lab, and became the first made-in-Singapore game to be published on Microsoft’s XNA Community Games Channel. This is encouraging for Singapore’s game industry and we look forward to more locally developed games made available to the global audience.
6 Whilst promoting the local games industry, the Government is also mindful of the detrimental effects of excessive gaming on youths. Education is the key in our efforts to address this issue. In schools, the topic of games addiction is covered at the primary school level and this is expanded to internet addiction at the secondary level. The MDA works closely with the Internet and Media Advisory Committee (INMAC) to educate not just youths but also educators, parents and the general public, on the core aspects of cyber wellness. Among its efforts, MDA commissioned a Public Service programme “Once Upon a Cyberspace” to raise awareness among 10-14 year olds and their families on the importance of cyber-wellness. Community groups like the Touch Community Services also run workshops for parents to help them understand and address issues on gaming and their children.
7 The Inter-Ministry Cyber Wellness Steering Committee (ICSC) was established earlier this year with funding of $10 million over the next five years. Co-chaired by the Deputy Secretaries of MICA and MOE, the ICSC will coordinate the Government’s efforts as well as work with the people-private sector organisations, to implement a national strategy for cyber wellness public education in Singapore. Gaming addiction is one of the issues that the ICSC will look into.
[1]This is based on the report by PricewaterhouseCoopers’ Global Entertainment and Media Outlook 2009-2013.
NOTICE PAPER NO. 174 OF 2009
NOTICE FOR THE SITTING ON 15 SEPTEMBER 2009
QUESTION NO. 129 & 135 FOR ORAL ANSWER
Mr Calvin Cheng: To ask the Acting Minister for Information, Communications and the Arts in view of the Auditor-General's Report for FY08/09 (a) what specific steps are being taken by Media Development Authority (MDA) to ensure proper oversight of MediaCorp in using MDA funds for Public Service Broadcast (PSB) programmes; and (b) what other performance measures can be adopted to ensure that MediaCorp’s PSB programming meets the standards required by MDA.
Mr Calvin Cheng: To ask the Acting Minister for Information, Communications and the Arts in view of the current Public Service Broadcast requirements and MediaCorp being a profit-driven enterprise with a small market size of Singapore, what else is being done to increase the number and quality of local productions on local television.
Answer
1 In FY 2008, MDA’s Public Service Broadcast, or PSB funding provided for about 2,000 hours of local content being produced and telecast across our seven free-to-air channels. This was an increase of 10%, or about 200 hours more local production than in 2007.
2 MDA has instituted several initiatives to improve the quality of our local productions. First, MDA requires MediaCorp to outsource a minimum number of local content hours to independent production companies annually. Currently, about 35% of local PSB production hours are outsourced to independent production companies, compared to 26% in 2005. This has resulted in a more competitive and creative environment and helped ensure a constant flow of fresh programme ideas.
3 Second, MDA has also introduced direct commissioning of PSB programmes since 2007 to bring about competition for PSB funds. About 10% of the total PSB funds are set aside for this purpose. MDA invites independent production companies as well as MediaCorp’s production units to pitch ideas to develop high-quality programmes that would appeal not only to Singapore viewers but also to an international audience.
4 As a result, Singaporeans enjoy a greater range of content choices and higher quality productions from PSB funding. Some of our local PSB programmes received the highest ratings on their respective channels. They have also won international accolades. Last year, our local PSB programmes won 20 awards and 16 other nominations at renowned international award events. Our local productions are also being acquired by established regional media players and channels.
5 On the usage of PSB funds, MDA recognises the importance of ensuring transparency and accountability, and adopts a stringent approval process. In addition to discussions on programming strategies and PSB themes, in-principle approval from MDA is required before a production is commissioned to ensure the programme meets specific PSB objectives. Regular comprehensive reviews of the annual PSB Funding Agreement are conducted to ensure that MediaCorp has fulfilled its commitments in terms of total output and range of PSB programmes as well as outsourced production requirements.
6 MDA also sets target viewership ratings and Programme Appreciation Index as Key Performance Indicators for PSB programmes. The latter is measured in terms of the level of informative value, relevance, enjoyment and effectiveness in promoting social values, and our culture and heritage. MDA conducts quarterly PSB Appreciation Surveys to determine the Programme Appreciation Index. The survey results have been positive and encouraging. The past four surveys showed that 8 out of 10 Most Appreciated Programmes were PSB-funded.
7 MDA also receives regular feedback from its various advisory committees on the range and quality of TV and radio programming, including PSB programmes. Such feedback helps to enhance the quality of PSB programmes.
8 MDA is commissioning an independent review of the effectiveness and efficiency of PSB funding, and will use the findings to develop other meaningful key performance indicators for PSB programmes.
9 In conclusion, MDA will exercise proper oversight of how PSB funds are used and continue to work with the industry and stakeholders to enhance the quality of local productions.
NOTICE FOR A SITTING ON 14 SEPTEMBER 2009
NOTICE PAPER NO. 197 OF 2009
QUESTION NO. 99 FOR WRITTEN ANSWER
Mr Seah Kian Peng: To ask the Acting Minister for Information, Communications and the Arts what is the Ministry’s policy with regard to advertising by cigarette companies for national events such as the Singapore HeritageFest 2009.
Answer
1 Community and private sector support is an important source of funding for the promotion and development of arts and cultural activities. Such sponsorships have enabled the National Heritage Board (NHB) to enrich its programming and organise various outreach initiatives and community-bonding events such as the Singapore HeritageFest 2009.
2 Among the sponsors of the HeritageFest is a tobacco company. NHB has been receiving this sponsorship via exemption from the Smoking (CAST) Act. The exemption clause in the Act allows discretionary exemptions for tobacco companies to be acknowledged as sponsors for events. NHB has had to apply for such exemptions with the Health Sciences Authority (HSA), which is the agency enforcing the CAST Act.
3 To ensure sponsorship acknowledgements by tobacco companies do not unduly promote smoking or tobacco, every application for exemption is assessed on its own merit, based on stringent advertising restrictions on elements such as event coverage and specifications of publicity materials used. For its part, NHB ensures that promotional materials targeted at students and children do not carry the logo of the company.
4 To meet the WHO's Framework Convention on Tobacco Control (FCTC) which Singapore ratified in 2004, the Health Promotion Board (HPB) is removing this exemption clause within the Draft Smoking (CAST) Amendment Bill 2009. This will come into effect in end 2010. NHB will abide by the guidelines that arise from this exercise.
NOTICE PAPER NO. 150 OF 2009
NOTICE FOR THE SITTING ON 19 AUGUST 2009
QUESTION NO. 106 FOR ORAL ANSWER
Mr Baey Yam Keng: To ask the Acting Minister for Information, Communications and the Arts (a) if the Ministry has identified the lapses in the fee collection process which resulted in the over-collection of $6.06 million in radio and TV licence fees from about 684,000 households since 2005; (b) what steps it will take to correct this and prevent future mistakes; and (c) how and by when the money will be refunded to the affected households and parties.
Answer
1 Let me first clarify that these are not cases of over-collection but rather un-refunded vehicle radio and household TV licence fees. Unclaimed refunds for vehicle licence make up 85% of the 684,000 cases with TV licences the remaining 15%. Most car owners and car dealers do not actively seek refund of their vehicle licence from MDA after their vehicles are transferred or deregistered as the pro-rated refund amount is small. Almost half (48%) of these 684,000 cases have outstanding refunds below $2.50, while the remaining cases of outstanding refunds are mostly below $20. For household TV licences, property owners have similarly not sought refunds for the TV licence cancellations.
2 Since the audit by AGO, MDA has refunded $2.3 million of the earlier unclaimed amount of $6.06 million. To clear the rest of the outstanding cases amounting to about $3.8 million, an automated process to proactively refund excess payment and an auto-posting of undue claims to MOF’s website on unclaimed public monies will be implemented by October 2009. Previous owners of houses or vehicles which have changed ownership may refer to www.unclaimedmonies.gov.sg or approach MDA for licence fee refunds if they have not done so.
NOTICE PAPER NO. 164 OF 2009
NOTICE FOR THE SITTING ON 19 AUGUST 2009
QUESTION NO. 123 FOR ORAL ANSWER
Ms Audrey Wong Wai Yen: To ask the Acting Minister for Information, Communications and the Arts in view of lapses in the administration of the Scheme for Co-Investment in Exportable Content (SCREEN) noted in the Report of the Auditor-General for FY08/09 (a) what measures are being taken by the Media Development Authority to recover outstanding revenues; and (b) what have been the financial and non-financial returns from SCREEN so far.
Answer
1 Under the Media 21 Blueprint, MDA established the Scheme for Co-Investment in Exportable Content (SCREEN in short) to better ensure our local media industry can gain a large share of the production and post-production work done in Singapore.
2 MDA adopted a co-investment approach instead of giving a direct grant or subsidy through SCREEN for the purpose of reducing market distortion. AGO reported that $9.89 million of revenue was outstanding to MDA from the 46 projects observed under SCREEN. MDA would like to explain that this $9.89 million is a forecast (or projected) but yet-to-be realised revenue from the 46 projects. Based on the media industrial norm, it will take a few years for these projects to yield the actual revenue. So far, some of these projects had produced about $130,000 which is due to MDA as of the end of June 2009. MDA is taking steps to collect this amount from the relevant project owners by December 2009. MDA will monitor closely the development of all the 46 projects and will initiate actions to collect the revenues whenever they are due.
3 In terms of returns and benefits from the SCREEN initiative it is a programme that is conceived mainly as a capacity-building tool to boost our local media sector. In the past 3 years, SCREEN has raised the profile of Singapore as an emerging creative hub with more than 180 co-production projects sold, distribution or broadcast in more than 50 countries. Examples of successful projects include “Little Tao-Shu - The Warrior Boy” which had won the US-based iParenting Media Award. “The Home Song Stories” had received 7 nominations at the Golden Horse Awards, and “I Got Rocket”, an animated TV series had won an Emmy Award for 3D Animated TV Series in 2008.
4 As at 31 March 2009, more than 1,000 full-time equivalent jobs were created under SCREEN, with $164.8m committed by international and local production houses to be spent in Singapore.
5 Through SCREEN, MDA has helped to build up a core group of local TV, film and animation companies which own or co-own intellectual properties and are capable of producing top quality projects with leading international players.
NOTICE FOR A SITTING ON 18 AUGUST 2009
NOTICE PAPER NO. 122 OF 2009
QUESTION NO. 63 FOR WRITTEN ANSWER
Ms Denise Phua Lay Peng: To ask the Acting Minister for Information, Communications and the Arts (a) if his Ministry can provide findings on the negative aspects of computer addiction especially amongst the youths; and (b) whether there is an action plan to proactively address this issue.
Answer
1 There is currently no universal definition of what constitutes computer addiction. There is anecdotal evidence that excessive time spent on the computer has negative impact on one’s physical and psychological well-being and retards one’s social development. Internationally, there are reports of acts of aggression by youths and even deaths due to excessive online gaming. Several studies have also reported excessive Internet use could lead to compulsive behaviours.
2 In Singapore, excessive gaming and Internet use among youths is something we need to watch carefully. Between Apr 2007 and Dec 2008, the Institute of Mental Health (IMH) had seen 9 youths (below age 21) who have a primary problem associated with computer addiction.
3 The Government is aware of this issue, and has taken steps to address it. For instance, MDA has worked closely with the Internet and Media Advisory Committee (INMAC)[1] to support events that promote cyber wellness[2]. MDA has also commissioned a Public Service Programme entitled “Once Upon A Cyberspace”[3] to raise awareness among 10-14 year olds and their families on the importance of cyber wellness. There are also ongoing community efforts to address the issue. TOUCH Community Services runs the one-stop PlanetCRUSH Cyber Wellness Centre that counsels Internet addicts. They also run workshops for parents to help them understand and address issues on gaming and addiction.
4 In our schools, games addiction and Internet addiction are topics covered in primary and secondary levels respectively. MOE has produced two publications with stories on cyber wellness, which are distributed to every primary and secondary school student. Schools also organise assembly talks and involve parents in cyber wellness workshops and seminars. Teachers can also refer students with such problems to Full-Time School Counsellors for counselling.
5 The Government recognises that a comprehensive and coordinated approach is needed. That is why we had in Jan 09 announced the setting up of an Inter-Ministry Cyber Wellness Steering Committee (ICSC). Co-chaired by the Deputy Secretaries of MICA and MOE, the ICSC will coordinate the Government’s efforts as well as work with the people-private sector organisations, to implement a national strategy for cyber wellness public education in Singapore. MICA and MOE will contribute a total of $10 million over 5 years to support the work of ICSC. Cyber addiction is one of the key issues that the ICSC will look into.
[1] INMAC comprises key stakeholders from the people, public and private sectors, including SPH, MediaCorp, StarHub and SingTel.
[2] These initiatives include "Parenting in the digital age, guiding your child to be media savvy and Internet safe", "Get Net Safe!" and “Licence 2 Play” to promote cyber wellness and healthy gaming.
[3] Started from 6 Apr 09, this programme aired as six 1-minute interstitials on OKTO for 6 weeks.