Report of the Committee on Specialised Arts School

March 2004

2

CONTENT

Executive Summary 3

Part One – The Context

8

Chapter One Creativity and the Arts in Remaking Singapore

9

Chapter Two Diversifying the Education Landscape

14

Chapter Three Desirability and Feasibility of an Arts School

23

Part Two - The Recommendations

29

Chapter Four Objectives and Guiding Principles

30

Chapter Five Curriculum Structure

33

Chapter Six School Structure

42

Chapter Seven Implementation and Budget

52

Annexes Annex A List of Committee Members ii Annex B List of Organisations consulted iii Annex C Creative Industries Development v Annex D Tertiary Programmes in Arts, Media and

Design vii

Annex E Focus Group Findings viii Annex F Survey Findings xi Annex G Overseas Arts Schools xvi Annex H Considerations for Arts Curriculum xx Annex I International Baccalaureate (IB) Diploma

Programme xxi

Annex J Arts School and Map of Education Landscape xxiii

3

Executive Summary Introduction 1. In 2002 the Committee on Reviewing JC and Secondary School Education

recommended that independent schools specialising in sports, maths, science and the

arts would help diversify our education landscape. The Sports School has been

established, and NUS will establish a High School for Science and Maths. Subsequently,

the Remaking Singapore Committee also recommended the setting up of an arts school

at secondary level to harness a diversity of talents.

2. In this context, MITA appointed a Committee (Annex A) to study the desirability and

feasibility of establishing a pre-tertiary arts school and to make recommendations for the

setting up of such a school, if found feasible.

A Timely & Desirable Development for Singapore

3. As Singapore transits to an ideas-driven economy and seeks to compete in higher value-

added economic activities the creative industries will play a more significant role. The

Economic Review Committee had also identified the creative industries as a new growth

sector. To be globally competitive in the creative industries, Singapore needs a growing

pool of talents with both technical skills and creative thinking. This would include

Singaporeans talented in the performing and visual arts, design, creative media and IT.

To continue to build up our position as a distinctive Renaissance Arts City in Asia,

Singapore also needs to better nurture our own artistic talents. In addition to the world-

class infrastructure for the arts we have developed over the years, more local artistic

talents are necessary for the long-term sustainability of our arts and cultural

development. Last but not least, as our society matures, the need to recognise and

provide new opportunities to engage a greater diversity of talents, including their artistic

and other creative aspirations, has become more relevant.

4

Plugging the Gap at Pre-Tertiary Level

4. Higher education opportunities in the arts or arts-related disciplines are currently offered

in our tertiary institutions. These include degree programmes in theatre, music,

architecture and industrial design at NUS, mass communications at NTU, as well as

diploma programmes in arts, design or media at polytechnics and arts colleges. In

addition, NTU is planning for a new School of Design and Media with a visual art

component for 2005 onwards. NUS is also assessing the readiness of Nanyang

Academy of Fine Arts (NAFA) and LASALLE-SIA College of the Arts to issue NUS

degrees in visual arts. These colleges already issue degrees of their foreign university

partners.

5. However, despite these higher education opportunities, there is currently no dedicated

development path at pre-tertiary level for those who have interest and show early talent

in the arts. Currently, while students with interest or talent in the arts can take art or

music at O and A-levels as part of their mainstream curriculum, or private arts lessons

outside the school curriculum, they often face conflicts between their arts and academic

commitments. The arts learning environment in mainstream schools is also limited in

terms of teaching resources, exposure and development opportunities. Moreover,

access to the existing Art and Music Elective Programmes is also limited to only students

at selected secondary schools and junior colleges. As a result, the arts development

path for talented students is often interrupted during this phase of their education.

6. A pre-tertiary school for the arts will address these limitations. It will serve to identify and

nurture the artistic and creative talents of young Singaporeans by providing a learning

environment where their artistic and academic potential can be best realised. Graduates

from the school would possess a strong foundation in the arts, and would be better

positioned to pursue higher education in the arts or arts-related fields, or apply their

artistic and creative capabilities in other fields.

5

Recommendations for an Independent Arts School

7. Looking ahead at Singapore's economic, cultural and social development, the

Committee's concluded that a pre-tertiary school for the arts is both desirable and

feasible for Singapore.

8. In making its recommendations for setting up an Arts School, the Committee studied the

examples of arts schools that have been successfully implemented overseas. It also

conducted comprehensive focus group discussions with students, parents, principals and

the arts community, and a survey of parents. Both the discussions and survey

highlighted the limitations of current pre-tertiary arts options and show strong support for

a pre-tertiary arts school.

9. The Committee therefore recommended that an independent Arts School under the

purview of MITA and aligned with the national education system. It recommended that

the school be managed by a Board of Directors appointed by MITA. In addition, the

Committee recommended that an implementation taskforce, comprising experts in the

fields of education and the arts, together with the principal, oversee the implementation

of the Arts School.

10. The implementation taskforce should be guided by the following key recommendations:

(a) Arts and Academic Curriculum providing Unique Development Opportunities:

The independent Arts School would provide an integrated 6-year arts and academic

programme for students aged 13-18. The curriculum would comprise languages

(including literature), sciences, humanities, mathematics, visual arts and performing

arts (music, dance, theatre). Students would be exposed to a wide range of the arts,

while developing at least one arts specialisation. The school would offer unique

development opportunities characterised by multi-disciplinary and IT-enabled

experimentation, a multicultural environment and learning opportunities beyond the

classroom.

(b) Qualified and Experienced Teaching Faculty; The school's faculty would comprise

a pool of qualified and experienced teachers in the arts and other academic fields

from Singapore and overseas. The faculty would be capable of introducing the

integrated curriculum and other innovative practices in education.

6

(c) Strong Links with the Arts Community, Institutions, Industry and Public: The

school should be a committed and active partner within the community. The school

should also leverage on the arts community and practitioners from the creative sector

for teaching, mentoring and the necessary exposure to industry practices. The

Committee also felt strongly that it is important that the school engages and

collaborates closely with other relevant institutions.

(d) Graduating Qualifications and University Entrance: Students would complete the

6-year programme and graduate from the Arts School with an International

Baccalaureate (IB) diploma. The IB offers depth of study in the context of a broad

and coherent curriculum emphasising critical thinking, intercultural understanding and

exposure to a variety of points of view. The IB is also widely recognised by both local

and foreign institutions, qualifying graduates to apply for arts and arts-related degree

programmes in Singapore and overseas universities. At the same time, arts school

graduates who choose to pursue non-Arts degrees at university would also be able to

do so.

(e) "Permeability" with Mainstream Schools: The school should remain "permeable"

with the mainstream education system. This means that students who choose not to

pursue arts specialisation and opt to leave the Arts School should be able to re-enter

a mainstream secondary school to prepare for the 'O' levels. Likewise, secondary

students from the mainstream can apply to the arts school midstream and be

admitted if they fulfil academic and artistic requirements. Such “permeability”

currently exists in the Singapore Sports School.

(f) Student Intake and Smaller Class Sizes: The Committee proposed that the arts

school would have a total of 1200 students in its steady state, and provide for smaller

class sizes of no more than 25 students. Overseas arts school were found to operate

with such class sizes or smaller to allow for the degree of personal attention and

coaching required for talent grooming. The Committee also recognises that foreign

students will enrich the diversity of the school and enhance cross-cultural learning

opportunities. Assistance schemes could be made available to needy students who

meet the admission requirements.

7

(g) Development of a new School in a Central Location: The school building should

capitalise on the vibrancy and the arts infrastructure already available within URA’s

designated Arts, Cultural, Learning and Entertainment District. The school can draw

synergy from sharing the facilities within the district with the arts community, and

wider public. The new Drama Centre co-located in the new NLB Building, the new

NAFA, LASALLE-SIA College of the Arts and SMU campuses are among the many

facilities that will be built in the Arts District. In addition, the Singapore Art Museum

and other museums are in the vicinity, along with many arts groups currently housed

under NAC’s Arts Housing Scheme. By plugging itself into the Arts District, the

school will benefit from the rich human, artistic and physical resources available, and

will also enrich the District with its student population. The Committee projected that

the school to be operational at its premises by Year 2007.

(h) Government, Corporate and Community Funding Support: To implement the

proposed pre-tertiary Independent Arts School, the Committee estimated a total

development budget of $80m (excluding land cost) and an estimated annual

operating budget of $18m in its steady state. Over and above MOE's support granted

to the development and operations of Independent Schools and the estimated

revenue, the Committee proposed that Government provide additional funding

support to develop the new school and subsidise its operations. In the longer term,

the Committee expects the school to attract corporate sponsorship and community

support, and work towards reduced Government funding. The funding obtained

should be optimised towards providing students with the best quality of learning. In

allocating resources towards the school's development, the Committee believes that

high priority should be placed on putting in place the essential 'software' of the school

e.g. teaching faculty. The Committee also urged that scholarships be made available

to talented students in need of financial assistance.

Conclusion

11. The Committee is confident that the Arts School would be successfully established and

would have far-reaching impact on both the arts and education landscape in Singapore.

In developing and fulfilling a greater diversity of talents and aspirations, the Arts School

would be an important milestone for Singapore as it remakes itself for the future.

8

Part One – The Context

To support Singapore's rapid industrialisation in the early phase of our development,

emphasis was placed on developing an efficient and skilled workforce. Looking ahead,

amidst a fast changing global landscape, this is no longer enough. For Singapore to

successfully transit into a global knowledge economy while maturing as a cohesive and

dynamic society, Singapore would need to nurture the creative enterprise of her people and

allow for the pursuit of a greater diversity of talents and aspirations in Singapore.

In this respect, significant positive developments in Singapore's arts scene and creative

industries have resulted in new opportunities for Singaporeans to pursue higher education

and careers in the arts and the related fields of design and media. However, the traditional

areas of strength and emphases in our national schools are in the sciences and

mathematics. The arts are an integral part of education in our schools, but not core.

To add to the diversity in the education landscape and better cater to the abilities and

aspirations of Singaporeans talented in the arts, an independent school offering greater

specialisation in the arts could be set up. Such a school can be similar to the Singapore

Sports School or the NUS School for Science and Mathematics

The following chapters will examine the broader context for the Committee's deliberations

and present the reasons behind the Committee's conclusion that setting up an independent

school for the arts is a desirable development for Singapore. It will also provide an overview

of the issues the Committee considered, including the experiences of other countries in this

area, that led to the conclusion that such a school would also be feasible in Singapore.

9

Chapter One CREATIVITY AND THE ARTS IN REMAKING SINGAPORE ___________________________________________________________________ Developing Singapore as a Global Arts City

Cultural development is less amenable than economic development to 'short cuts' such as knowledge transfer and direct foreign investment; it could be argued that a country's cultural milieu needs more time to brew. [However] It is helpful for us to be more conscious about developing this aspect of our country.

Renaissance City Report, Mar 2000 1. Since the 1989 Report of the Advisory Committee on Culture and the Arts, Singapore

has developed a broad range of institutions and infrastructure to support our arts and

cultural growth. Most recently, the opening of world-class performance facilities at the

Esplanade – Theatres on the Bay, as well as the unique Asian Civilisations Museum at

Empress Place have helped to further raise Singapore's visibility and reputation as a

destination for the arts. However, while institutions and infrastructure are important

aspects of our arts and cultural development, the 2000 Renaissance City Report

recognised that the "software" aspects of our arts and cultural development are equally,

if not more critical.

2. The Renaissance City Report articulated the vision of Singapore as a Global Arts City,

where a vibrant and distinctive arts and cultural scene is central to creating a compelling

city in the world to work, live and play in. At the same time, the report recognised that

investing in promoting and developing the arts, culture and heritage is critical to the long-

term process of nation building. The arts and culture helps strengthen Singaporeans'

sense of belonging, resilience and community, and also opens up more avenues for

Singaporeans with diverse talents to contribute to their community.

10

3. The Report therefore set the framework for greater emphasis on the development of

Singapore's arts and cultural capabilities, particularly the nurturing of arts and cultural

talents, appreciation and vibrancy, in the following ways:

(a) Growing arts audiences

Efforts to bring the arts to a wider audience and to deepen Singaporeans'

appreciation of and participation in the arts have raised arts attendance to a record

1.1million in 2002. Today, more than 1 in 4 Singaporeans attended an arts

performance or visited an art exhibition, compared to about 1 in 10 Singaporeans in

1996. With the arts education and outreach programme in the community and

schools, this growing interest in the arts has been most significant among the young.

Students comprise some 44% of arts audiences in 2002, as compared to 25% in

1999.

(b) Grooming arts talents

Support in the form of annual, project and training grants to groom our arts talents

has helped to raise the level of professionalism of our arts groups, as well as the

standard of arts practice. More Singaporeans are therefore able to pursue a formal

arts education, professional training and a career in the arts. Today, there are some

550 arts companies and societies, compared to 346 in 1993. The number of arts

performances and visual arts exhibitions has also more than doubled over the last

decade, creating a more lively arts and cultural scene.

(c) Promoting Singapore arts overseas

There has been increased international recognition of Singapore arts and artists in

recent years. The Singapore Dance Theatre, the Singapore Chinese Orchestra, the

Singapore Symphony Orchestra, theatre companies such as Theatre Works and the

Singapore Repertory Theatre, as well as Singapore's visual artists have received

acclaim for their works performed or exhibited at overseas festivals and shows.

(d) Developing an arts economy

To position Singapore as an international hub for the arts, arts activities and

programmes were initiated and efforts were made to better integrate the arts into the

life of the city. Today, the Singapore Arts Festival is one of the region's leading arts

events, and events like WOMAD as well as other concerts and cultural performances

11

organised by commercial arts impresarios have also helped strengthen cultural

tourism.

4. Moving forward, with the increasing sophistication of the international arts scene and the

rising competition from regional cities such as Hong Kong and Shanghai in the arts and

cultural sphere, Singapore needs to further distinguish itself and nurture a more

distinctive arts scene. While we continue to attract leading international artists and arts

groups to present their works in Singapore, it is important to develop a strong pool of

local artistic talents who are able create our own unique works and artistic identity. This

would ensure Singapore's continued cultural relevance on the global stage.

Growing the Creative Industries

The Creative industries can be defined as "industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property."

UK Creative Industries Taskforce, Mapping Document, Nov 1998

5. Ideas and intellectual property are key drivers of growth today. Creative industries,

commonly understood as comprising the design, media and arts and cultural industries,

are at the centre of this shift from industrial to an ideas-driven economy. Today, by

bringing together the creativity in the fields of arts, business and technology and imbuing

products and services with "socio-cultural" meaning, the Creative Industries generate

new ideas and intellectual property and cater to a growing global demand for information,

cultural, lifestyle and entertainment products and services.1 The number of people

employed in these sectors has also grown tremendously in recent years.2

6. With increasing interest in and demand for unique Asian content and cultural products,

our Asian neighbours such as Hong Kong, China, Thailand and South Korea are

similarly positioned to tap the huge global opportunity space. While Singapore has

1 In 1999, creative industries were estimated to be worth US$2.2 trillion worldwide, with an annual growth rate of 5%. The Creative Economy – How People Make Money from Ideas, John Hawkins, Penguin Books (London, 2001). 2 The creative industries in the UK accounted for 7.9% of GDP in 2000, growing by an average 9%p.a. between 1997 and 2001, as compared to 2.8% for the overall economy. (Source: Creative Industries – Fact File. UK Dept of Culture, Media and Sport, 2002). In the US, the annual growth rate of 7% for similar industries was more than double the growth rate of the US economy over the past 24 years, contributing some 7.75% of GDP in 2001. (Source: Copyright Industries in the US Economy – the 2002 Report. Stephen E. Siwek, Economist Incorporated for International Intellectual Property Alliance, 2002). Cultural employment in France increased 36.9% between 1982 and 1990, 10 times the increase in the total working population during the same period (Source: European Commission, 1998). For Japan, its cultural exports have tripled over the past 10 years to

12

traditionally thrived in engineering and manufacturing-based industries, we have several

unique and important advantages that will stand us in good stead to leapfrog competitors

in growing the creative industries. Our multicultural heritage and bilingual capabilities

open up access to multiple language markets. Our cosmopolitan and east-meets-west

culture enables us to more intuitively understand the needs and preferences of different

markets. The strong arts base Singapore is building also helps provide a stimulating and

distinctive cultural environment for creative talents and enterprises to thrive.

7. The Creative Industries Development Strategy (CIDS) was therefore formulated in 2003

to help further grow the creative cluster of arts, design and media industries in

Singapore. The CIDS targets to double the %GDP contribution of creative industries

from 3.2% to some 6% in 2012 and to create some 20,000 new jobs by 2012. The CIDS

comprises three sectoral-specific initiatives – Renaissance City 2.0, DesignSingapore

and Media 21 (Annex C). As these industries depend on individual creativity and cultural

content for their growth, a key component in all three initiatives is talent development.

Attracting and grooming a strong pool of world-class talents for the creative cluster is a

long-term strategy.

8. Currently, employment in the creative cluster is some 42,000 (Table 1.1)3. This includes

jobs for creative professionals and artists, such as musicians, dancers, television or film

directors or producers, animators, software and games designers, architects, graphic

and product designers, writers, editors, creative directors in advertising and so on. The

remuneration per capita for those employed in this cluster has doubled during a 10-year

period from 1990-2000. With the new plans to grow the Creative Cluster, some 20,000

new jobs are expected to be created in the fields of arts, culture, design and media over

the next 10 years.

US$12.5billion while manufacturing exports have increased by only 20.7%. (Source: "What's Right with Japan", Time, 11 August 2003) 3 This figure does not include those involved as arts educators in schools, designers or media specialists working in other industries (e.g. product and industrial design employed in the manufacturing sector; fashion merchandiser working in the retail industry). The figure also does not include freelance professionals who work in the creative sector, where freelancing and self-employment are highly viable options.

13

9. Over the years, Singapore has also attracted many creative professionals from around

the world and the region, many of whom lead international creative teams in industries

such as advertising in Singapore. Their experience and expertise are central to the

richness and diversity of Singapore's creative community and our position as a leading

creative centre in Asia. While we continue to attract talented individuals with the creative

capabilities from other countries to Singapore, it is also important that we invest in

developing our local talent pool in these fields.

Conclusion 10. Given these developments in our economic and cultural landscape, it is timely for

Singapore to consider setting up an arts school. An arts school for our young can play an

important part in the long-term development of Singapore's distinctive arts scene and

talent pool. An arts school can also play an important role in providing a strong

foundation in the arts for our young artistic talents. Such a foundation will be crucial not

only for students interested in pursuing careers in the arts, but also for those who wish to

pursue careers as creative professionals in the fields of design and media.

Table 1.1 Creative Industries Employment (2000) Creative Industries Sector Employment

Media 11,048 � Printing & Publishing 4829 � Broadcast Media Services 5460 � Film & Video Services 759

Design 26,542 � Architecture 7206 � Advertising 5555 � Graphic, Interior, Fashion, Industrial

design 4968

� Software Development & Design 14368

Arts & Culture 4,735 � Photography 725 � Arts & Antiques Trade 1859 � Performing Arts 1570 � Museums & heritage activities 581

TOTAL 42,325 (Source: Dept of Statistics, Ministry of Trade & Industry, 2003)

Jobs in the Creative Cluster

Arts & Cultural Industries: e.g. Musicians, actors, dancers, directors, writers, visual artists, photographers, songwriters & composers, stage & lighting designers, sound & lighting engineers, arts impresarios and managers, arts educators, curators and researchers Design Industries: e.g. Architects, interior designers, fashion designers, multimedia & interactive designers, graphic designers, illustrators, landscape architects, industrial & product designers, creative directors, copywriters, games and software designers Media Industries: e.g. film/tv producers & directors, actors, animators, multimedia & interactive designers, writers, editors, sound and lighting engineers

14

Chapter Two DIVERSIFYING THE EDUCATION LANDSCAPE ___________________________________________________________________ Opportunities in Higher Education for the Arts 1. Given the vision to grow Singapore's arts landscape and creative industries, it is no

longer sufficient for education provisions in the arts and related disciplines of design and

media to focus solely on technical competency. This view is also confirmed by industry

feedback (Annex E) that, if Singapore is to aim to grow our creative enterprises to reach

the global stage and market, we need creative professionals to possess the ability to

communicate ideas, passion for creative breakthroughs and critical capacity. These

individuals need to be exposed to and possess a deeper understanding of history,

culture and global trends. Without these capabilities, it would be difficult to raise the

standards of creativity and excellence, and to realise distinctive and new ideas, concepts

and products by Singapore for the world.

2. In countries like Finland, USA, UK and Japan, world-class arts, media and design

programmes and institutions at the university level play a key role as centres of research

and innovation for the creative arts. As centres of excellence, these institutions are able

to attract students of high calibre in the creative arts. Developments are also being

made to offer more opportunities for our talented students to pursue higher education in

the arts, media or design disciplines, particularly undergraduate and postgraduate

degrees in Singapore (Table 2.1, and Annex D for details).

3. Enhancing our provisions for arts, media and design education at tertiary level would

play an important role in:

15

(i) Facilitating the shift from training for technical competency to also nurturing the

intellectual and critical thinking and creative capabilities of our arts and creative

talents in a broader academic environment;

(ii) Providing a more compelling higher education landscape for the arts, media and

design to inspire and attract more talented young Singaporeans to pursue their

aspirations in Singapore; and

(iii) Establishing leading centres for research and innovation in the arts, media and

design which would set new standards of excellence in these fields.

4. In 2003, there are close to some 3000 diploma and degree places offered in the arts,

design and media programmes (Table 2.2) of arts schools, polytechnics and universities

in Singapore. These tertiary programmes are fast gaining popularity among Singaporean

students, given the opportunities in the creative industries, and as more Singaporeans

pursue their own passions and talents. These programmes are also attracting a high

number of students from the region. In recent years, there has also been an increase in

students pursuing their interests in arts, media and design at degree level.

Table 2.1 Existing & New Tertiary Education Options in Singapore for Arts, Media and Design Existing Options New Options Performing Arts: Theatre, Dance

� Diploma and Degree programmes at LASALLE-SIA and NAFA (degrees currently awarded by a foreign university)

� Diploma and Degree programmes at

NIE/NTU � Degree Programme in Theatre

Studies at NUS

� Degree Programme (Music) at the Yong Siew Toh Conservatory of Music at NUS since August 20034.

Visual Arts: Painting, sculpture, multimedia

� Diploma and Degree programmes at LASALLE-SIA and NAFA (degrees currently awarded by a foreign university)

� Diploma and Degree Programmes at

NIE/NTU

� NUS is assessing the readiness of NAFA and LASALLE-SIA to issue NUS degrees in fine arts

Design: Industrial & product design, interior design,

� Diploma programme at the Polytechnics, LASALLE-SIA and NAFA

� Degree programme at NTU School of Design and Media in 2005 onwards. The school would also offer minors in drama and

4 The Conservatory of Music at NUS was established following the recommendations of the Committee to Upgrade LASALLE and NAFA (1998) for Singapore to set up an Institute for the Arts at NUS, to offer the first local degrees in the visual and performing arts. The Conservatory of Music represents the first phase of such a development. The Conservatory is established in collaboration with the Peabody Institute of John Hopkins University. The Conservatory offers the 4-year undergraduate programme leading to a Bachelor of Music (Honours) degree. The Conservatory will provide aspiring professional musicians with the musical skills and perceptions necessary to sustain a career in music, whether as solo or ensemble performers, composers, teachers, recording engineers, critics or scholars. Of its inaugural intake of 72 students, Singaporeans constitute the 3rd largest group, behind China and Vietnam.

16

architecture, fashion design, graphic & visual communications design

� Degree programme at LASALLE-SIA and NAFA (awarded by a foreign university)

� Degree programme (Architecture &

Industrial Design) at NUS

performance, music and visual arts.

Media: film & video, digital media (animation, interactive media) mass communications studies

� Diploma programme at the Polytechnics, LASALLE-SIA, NAFA

� Degree programmes (Mass

Communications) at NTU

� Degree programme at NTU School of Design and Media in (2005/2006). The school would also offer minors in drama and performance, music and visual arts.

* The Economic Development Board (EDB) is also working towards attracting internationally renowned art and design colleges to establish independent campuses in Singapore offering undergraduate and postgraduate degree programmes in art, media and design

The Arts in Pre-Tertiary Education Today 5. While these developments take place at the tertiary level, the Remaking Singapore

Committee (2003) and the Committee on Review of Secondary School/Junior College

Education (2002) had also concluded that a more diverse education landscape would

better cater to the aspirations of Singaporeans. The latter had recommended setting up

independent schools specialising in arts, sports, mathematics and science. These

schools would provide alternatives to the mainstream schools, recognise and groom a

broader diversity of Singaporean talents. The former had recommended the setting up

of an arts school. It observed that development opportunities for young artistic talent at

the pre-tertiary were lacking, in comparison to the tertiary arts, media and design

provisions.

Table 2.2 Enrolment in Tertiary Arts, Media and Design Programmes in Singapore

PROGRAMME 2002 2003 Diploma Degree Diploma Degree

Media 1136 1159 � Mass Communications, including Film/Video, Recording

and Digital Media 826 310 787 372

Design 1276 1288 � Visual Communication Design 383 67 368 51 � Interior Design 331 21 348 20 � Architecture - 150 - 150 � Industrial & Product Design 106 30 96 30 � Fashion Design & Merchandising 175 13 215 10 Arts 467 610 � Visual Arts 144 51 168 53 � Performing Arts 224 48 271 118

TOTAL 2189 690 2253 804

17

6. Moreover, the arts are recognised and upheld by education professionals as integral to

an individual's holistic development and education. Arts education, as compared to the

study of subjects such as mathematics and science in schools, achieve the following in a

unique fashion:

(a) Develops Critical Thought and Creative Expression:

The visual and performing arts are unique in developing one's ability to perceive,

conceptualise and express ideas through physical movement, space, emotions,

image and language. Whether as sensitivities, general awareness or as discrete

skills, these are fundamental capabilities for critical thought and creative expression.

(b) Nurtures Self-Development, Teamwork & Leadership Qualities:

The arts also best develop and encourage these valuable qualities in our young,

such as confidence and the ability for self-expression, critical in developing a young

person's sense of self, as well as teamwork and leadership qualities. The arts are

highly interactive and are often dependent on team effort.

(c) Enriches the Study of other subjects:

The arts provide a rich and inspiring learning environment. The arts also have close

synergy with the study of the sciences, languages, mathematics and humanities.

Owing to the multidisciplinary and creative nature of the arts, artists draw widely from

ideas, concepts and developments in these areas, and vice versa. Last but not least,

the sensitivities and skills developed through the arts, e.g. visual literacy and

drawing, performance techniques and so on, provide the important foundation in the

study and practice of the applied arts, such as craft, design and media.

7. For these reasons, schools and students participate in arts activities at various levels –

as general or elective programmes in the main academic curriculum, as co-curricular

activities, or as private activities – via courses offered by private commercial schools.

18

General and Elective Programmes 8. Currently, art and music are compulsory non-examination subjects taught at the primary

level. At the lower secondary level, art is an examination subject and music is a

compulsory but non-examination subject. At these levels, students are given a broad

exposure to the fundamentals of visual arts, craft and music appreciation, composition

and performance. Students may choose to take art and music as examination subjects

at ‘O’ or ‘A’-levels as part of their academic curriculum. Students can also enrol in the

Arts Elective and Music Elective Programme, offered in selected Secondary Schools and

Junior Colleges only (Table 2.3).

Table 2.3 "O" Level Candidature and AEP/MEP Intake

Year "O" Level Art (includes AEP

students)

"O" Level Music (Includes MEP students)

AEP intake MEP Intake

1997 6322 189 91 134 1998 5170 163 74 164 1999 4321 171 69 143 2000 4041 205 104 190 2001 2156 327 93 196 2002 3048 304 87 205

Source: Ministry of Education, 2003

9. The 4-year AEP/MEP at selected Secondary Schools5, prepare students for the GCE ‘O’

level art/music examinations, with ‘Higher Art/Music’ certification . The 2-year AEP/MEP

at selected Junior Colleges (JC)6 prepare students for the GCE ‘A’ level art/music

examinations, with ‘Higher Art/Music’. The AEP and MEP were started in 1984 and 1982

respectively with the objective of providing a challenging art/music programme that will

attract academically able students with strong motivation and aptitude. The intention is

to develop well-rounded individuals, in all fields, who would exercise leadership

favourable to the arts. These selected schools for the AEP/MEP are equipped with the

relevant facilities, such as art studios, kiln room, darkroom, music studios, as well as

library and other resources. The programmes are taught by graduate teachers with at

least university qualifications in art/music.

10. Students who are not enrolled in the AEP and MEP programme can also opt to take art

or music as an ‘O’ or ‘A’ level subject if their schools have the necessary resources. In

the case of ‘O’ level music, students may apply to take their music classes at ‘O’ level

5 Art Elective centres (4): Chinese High School (Independent); Nanyang Girls High School (Independent); CHIJ Toa Payoh (Autonomous) and Victoria School (Autonomous). Music Elective centres (5): Anglo Chinese School (Independent); CHIJ St Nicholas Girls School; Dunman High School; Methodist Girls' School; Tanjong Katong Girls' School 6 Art Elective centres (2): Nanyang Junior College, National Junior College. Music Elective centres (3): Anglo Chinese Junior College, Raffles Junior College, Temasek Junior College

19

music centres. At the junior college level, there is also a 2-year Theatre Studies

Programme at Victoria Junior College.

Co-Curricular Activities

11. Outside the academic curriculum, students may also be exposed to the arts through

extra-curricular enrichment programmes. For instance, the National Arts Council's Arts

Education Programme facilitates local arts groups in creating special performances or

workshops for students in schools, or for students to make excursions to arts venues and

performances. The arts are also part of the co-curricular programmes in schools where

students may choose to participate in school orchestras or bands, dance groups, choirs,

art clubs, photography clubs and the like. Over the years, the number of students who

have shown interest in these arts-related activities have grown tremendously at all levels,

and is especially so at the Primary level (Table 2.4).

Table 2.4 Participation in selected Arts-related Co-curricular Activities (1997, 2002)

Military or Brass Band**

Chinese Orchestra

Choir, Xing Yao

Instru-mental Groups

Dance***

Drama Art & Craft

Calligra-phy

Number of Students, 1997 Pri 2,661 1,131 6,994 5,308 8,264 2,225 5,073 1001 Sec 2,955 3,362 426 JC/CI*

10,952 3,412 7,600 2,873 6,415 836 241 119

Total 13,613 4,543 14,594 8,181 14,679 6,016 8,676 1,546 Number of Students, 2002

Pri 3,417 3,058 9,335 5,852 13,183 3,449 7,977 1,403 Sec 13689 4,696 9,052 2,930 5,831 2,748 2,614 360 JC/CI 917 857 854 1,412 821 837 297 131 Total 18023 8,611 19,241 10,194 19,835 7,034 10,888 1,894 +32.4% (+89.5%) (+31.8%) (+24.6%) (+35.1%) (+16.9%) (+25.5%) (+22.5%)

( ) percentage change in total student participation from 1997 to 2002 *CI refers to Centralised Institutes offering a 3-year programme, leading to A-level qualifications ** Includes students in Western Orchestra *** Refers to ballet, western & modern dance as well as ethnic dances Source: Ministry of Education, 2003 Private/Commercial Schools 12. Many young people are also enrolled in private arts schools. The majority take up

dance, especially ballet, as well as music outside their school activities. Between 1990

and 2003, there were more than 30,000 students pursuing arts related courses at these

private schools, and the number of such schools also increased by 20% between 1995

and 2003. Many of these students attain private qualifications or certifications in music

or dance at these schools.

20

Gap for Arts Specialisation at Pre-Tertiary Level 13. Whilst young artistic and creative talents have been recognised and groomed through

these channels, their key objective is to expose students to the arts to broaden their

learning experiences as part of their holistic development, and to cultivate greater arts

awareness and appreciation. Given the centrality of the arts to an individual's education

and holistic development, it is important that we continue to develop these existing

offerings. However, it is also important that we pursue, in parallel, the option of providing

a more specialised development path, integrated with the core curriculum, for students

who show special interest and potential in the arts.

14. The current option offered to secondary and pre-university students to take art or music

at ‘O’ or ‘A’ level as subjects in their academic curriculum offers students with interest in

the arts the opportunity to pursue a stronger focus in it. The AEP and MEP, in particular,

offer a focused 4-year and 2-year programme at secondary and pre-university levels

respectively, for students to be exposed to both the theoretical and practical aspects of

visual arts and music. The continuing demand for both AEP and MEP over the years

(Table 3) show that these programmes fulfil a special need in these selected schools to

stretch the abilities of a group of academically able students.

15. However, the current options do not provide our young talents with a dedicated learning

environment that offers an academic programme that has meaningfully integrated the

arts with the study of other subjects, with the objective of nurturing their creative potential

to the fullest:

(i) Students who take art or music as an examination subject study it as only 1 out of

a total of 6-10 subjects in the mainstream, broad-based academic programme.

However, the time commitment required to excel in art/music, including practice

and studio time, far exceeds the classroom time of other subjects. As a result of

these competing demands, students are often unable to achieve their full

potential in the arts.

(ii) Students often constitute a small select group amongst the general student

population, hence schools are unable to offer an integrated programme for the

arts and academic curriculum, where the arts and academic learning can

complement each other meaningfully. A dedicated learning environment for the

arts will allow for better cross-disciplinary learning and experimentation and a

21

more integrated arts and academic curriculum. This is especially so as the arts

draw greatly from and also influence the study of humanities, sciences and

languages.

(iii) Again, because such students often constitute a small select group amongst the

general student population, they do not benefit from a strong community of young

people actively engaged in a broad range of art forms, who can inspire and

support each other. The arts are multidisciplinary in nature and often require a

full range of capabilities to come into play. For example, in learning about

theatre, a variety of performing and visual arts skills are required – acting,

directing, scriptwriting, stage and lighting design, costume design, music

composition and performance, dance and movement choreography, etc.

Multidisciplinary experimentation is also at the heart of artistic breakthroughs.

16. The second key limitation is that currently, students may only opt to study visual arts or

music. With the exception of a select class for theatre studies at Victoria Junior College,

there is no pre-tertiary provision for students who wish to pursue greater specialisation in

the other forms of performing arts such as theatre, the dramatic arts and dance, and the

applied arts. Therefore, students with talent in these art forms are often limited in their

development as they can only pursue these interests and talents during co-curricular

activities, at private or commercial schools outside their school hours, or at tertiary level.

In the case of art forms where early development and training is important, such as

dance where early development of a student's kinaesthetic skills is critical, specialisation

only at tertiary level is often too late to develop the student's full potential.

17. The third limitation is the lack of a seamless and viable development path for students

with interest and talent in the arts. Students who fail to enrol in the selected AEP/MEP

schools can opt to continue their study of art or music as part of their academic

curriculum at Secondary Three and Four only if their school has the necessarily-qualified

teacher(s) to offer the subject. Conversely, arrangements could also be made for

students to take art or music lessons at an AEP/MEP school. In addition, students who

wish to continue pursuing art or music as part of their academic curriculum after

Secondary School would need to enrol in the 5 selected AEP/MEP junior colleges, where

successful entry is based on their academic results.7 Students who wish to continue

their arts development beyond the junior college framework can only do so at an art

7 This is with the exception of Jurong Junior College and Yishun Junior College which offers A-level Art even though they are not an AEP centre.

22

college or polytechnic. However, as the art colleges and polytechnics do not provide a

broad-based academic curriculum, greater specialisation in the arts or applied arts is

often pursued at the expense of developing other skills/learning in languages, the

humanities or sciences. Upon graduation from art schools or polytechnic, these students

have limited access to local universities. Often, talented students are under pressure to

choose between a more ‘academic’ path at junior college, which prepares them for

university, or a development path that is perceived today as preparing students for

industry employment.

Conclusion

18. Whilst there are opportunities for young Singaporean to be exposed to the arts in our

schools, there is no dedicated development path for Singaporeans who show special

interest in the arts to develop their talents fully in an integral fashion with their pre-tertiary

education. This gap at pre-tertiary is especially significant given the latest developments

to enhance higher education or tertiary provisions for arts and arts-related programmes.

In plugging this gap, the Committee deliberated on the desirability and feasibility of an

arts school. Its conclusions are outlined in Chapter Three.

23

Chapter Three DESIRABILITY AND FEASIBILITY OF AN ARTS SCHOOL IN SINGAPORE ___________________________________________________________________ The Need for an Arts School 1. Given the importance of creativity and the arts in Singapore's economic and cultural

development, and the existing pre-tertiary gap for specialised arts education, the

Committee concluded that an arts school would be both a timely and desirable

development for Singapore in meeting these needs.

(a) Identify, attract and groom young Singaporeans with interests and talents in the arts.

While there are tertiary options for specialisation in arts, design and media, there is

no such dedicated development path at the pre-tertiary level where young people

with an interest in the arts can acquire both a strong foundation in the arts as well as

an academic development. The artistic and creative potential of many of our young

is often not fully developed as a result. Doing so will therefore help to attract and

identify those talented in the arts at a younger age, and provide them with a learning

environment that can best support their interest and develop their talents. In the

case of art forms such as dance and music, the early identification and development

of their capabilities is especially critical to the students achieving their full potential.

(b) Raise the quality of entrants to tertiary arts, media and design programmes.

Existing entrants to tertiary programmes in the arts and the related fields of design

and media often lack the requisite foundation in the arts. They often lack basic skills

of an art form (e.g. drawing or certain performance techniques) and a strong

foundation in the arts, such as a broad exposure to and understanding of art history

and the study of the humanities, which provide a critical, conceptual, theoretical and

24

historical basis to many arts practices. Raising the quality of entrants to our tertiary

programmes will ensure that our tertiary arts, media and design programmes can

more meaningfully take the students' potential to the next level. With enhancements

to our tertiary programmes currently being developed, it is even more critical that an

adequate level of pre-tertiary education in the arts and other creative fields be

established. Doing so will also better prepare students in choosing their fields of

further study and specialisation at the tertiary level.

(c) Serve as a model of excellence for the arts and arts education

As we broaden the measures for success in Singapore and encourage our people to

pursue their passions and aspirations in Singapore, an alternative development path

to the mainstream will help signal greater acceptance of and set the standards of

excellence in ’new’ areas such as the arts. The option for greater specialisation in

the arts will serve as an inspiration to the young, as well as educate parents on the

value and significance of the arts, hence also raising the demand for arts education.

Ultimately, the achievements and resources developed through this alternative pre-

tertiary path will contribute to bringing up the overall place and standard of arts

education in the mainstream education system.

Overseas Models of Arts Schools 2. The Committee noted that such alternative pre-tertiary development tracks for the arts

are widely available in many culturally vibrant countries that have also leveraged on their

creative industries for their economic competitiveness. In the USA, countries in Europe,

and our Asia-Pacific neighbours like Australia, Thailand, Korea and Japan, there are

special high schools that are focused on students interested and talented in the arts

(Annex G). This is over and above the strong provisions for students to study the arts

and humanities in their broad-based education system. In the case of Hong Kong, which

is also targeting its creative cluster to be a new driver for its economic competitiveness, a

new High School for Art, Media and Design will be established in 2004.

3. The two most common models for such schools were (a) public/government-funded or

private high schools, and (b) university-affiliated high schools. In the case of public and

private high schools, they are highly regarded for both their academic and arts

achievements within the national education system. Examples of such schools are the

25

La Guardia High School in New York, the San Francisco School of the Arts, as well as a

new specialist school scheme recently established in the UK.8 Graduates of these

schools proceed to enrol in arts or arts-related courses at universities or arts colleges. A

smaller percentage of graduates go on to do study the humanities, social sciences or

professional courses such as law at universities, or enter leading arts companies. In the

case of university-affiliated schools, they are usually co-located with the universities' arts

departments or arts institutes. The Victoria College for the Arts Secondary School in

Australia is one such example. The proposed NUS school for mathematics and science

in Singapore is another example of such a school.

4. The Committee observed that these successful schools have the following features in

common:

(a) High standards for entry, based often on academic performance and competitive

auditions.

(b) Balance between a broad-based academic programme and studio-based arts

component and qualifications, and a focus on inter-disciplinary learning between

academic and artistic endeavours.

(c) Graduating qualifications are pegged to entrance requirements for music

conservatories, art institutes and universities (for both fine arts and other non-fine

arts degrees).

Feasibility factors for an Arts School 5. While a school for arts would be a desirable addition to Singapore's education landscape

and has proven to be successful overseas, its feasibility in Singapore was a separate

issue. The Committee held comprehensive focus group discussions with students,

parents, principals and teachers, as well as arts and creative industry professionals

(Annex E). The Committee also conducted a survey of parents whose child is currently

enrolled in a Primary School and has interest in the arts (Annex F). The Committee

studied the following issues and, with the public feedback gathered, was confident that

an independent Arts School was feasible in Singapore.

8 In the UK, a new specialist school scheme has recently been set up to also allow existing schools to convert to specialist schools in 8 broad areas, including the arts, sciences, business, technology, sports etc. The intention of this programme is to raise standards of achievement and teaching in the specialised area for the school, while benefiting the "family of schools" to which the specialist school belong. This is similar to the cluster concept in Singapore, where certain schools in the cluster develop distinctive identities around an area of specialisation.

26

Higher Education and Career Path for Arts School Graduates

6. With the developments in Singapore's arts and cultural landscape, the growth of the

creative industries, and the development of relevant tertiary programmes, adequate and

attractive higher education and career opportunities for graduates of such a school are

available. The feasibility and attractiveness for the school would be further enhanced if it

offers qualifications that allow its graduates to proceed to such tertiary programmes in

Singapore and overseas. In the case of academic qualifications, they should be similar,

if not equivalent to what their peers in the mainstream education system acquire, i.e. ‘O’

levels at age 16, or ‘A’ levels or the International Baccalaureate at age 18 or 19.

Status of the School and "Permeability" with Mainstream Education System

7. The proposed school for the arts would be similar in status as other independent schools

(e.g. Nanyang Girls School, Raffles Institution, Singapore Sports School) and is therefore

slated to receive the same level of support from the Ministry of Education9. As the

independent school model is familiar to parents and students, it could be readily

accepted.

8. Feedback from parents and students also suggest to the Committee that such a school

would be feasible especially if students can have the option of re-entering the

mainstream education system. The Singapore Sports School had also ensured such

"permeability" with the mainstream education system in the initial years. Students who

are unable to continue with their sports specialisation could return to the mainstream

secondary school that they had earlier qualified for entry based on their PSLE results.

This "permeability" for the Arts School would also be available to students who are

unable or opt not to continue with their arts specialisation.

9 Report of the Committee on Secondary School/Junior College Review, Ministry of Education (October 2002).

27

Development Opportunities offered by an Arts School

9. Amongst the characteristics that would draw students and parents to such a school, the

quality of teachers, the class sizes and the opportunity to better balance both academic

and arts learning were cited as the most important. There was a common sentiment10

that the current education system did not adequately provide a foundation for students to

fully develop their talent in the arts or pursue a career in the arts. Students also provided

the feedback that they currently face competing demands between their academic

studies and pursuing their arts interest.

10. Therefore, it was important that an arts school provides a unique learning environment

that allowed students to develop their creative and artistic potential to the fullest, whilst

meeting the needs of their academic studies. For the arts school to be attractive to

students and parents, it is also important to ensure a high quality of the teaching

resources and learning environment. The survey indicated that highly qualified teachers

with experiences in both teaching and industry would be the most important factor for

parents in deciding to send their child to an arts school.

Demand for such a School

11. The Committee was also pleased to note the existing popularity of arts and arts-related

activities in schools and in private/commercial schools. In particular, the fast-growing

popularity of these arts and arts-related activities at the primary school level, where art

and music are not examinable subjects in the core curriculum, demonstrates a potentially

healthy interest in such a school. The popularity of arts, media and design programmes

at the tertiary level is also an indication of the potential demand for such a school. This

demand for arts education was confirmed by the survey, where 44% of the parents

surveyed were receptive to sending their child to an arts school. Specifically, 12% of

parents responded that they would "definitely" send their child to such a school. To

enhance the feasibility of the school in the longer term, there was also a need to

establish a framework for identifying talented students at the primary school level.

10 More than 50% of the parents surveyed.

28

Links with the community and industry

12. In the Committee's consultation with other stakeholders in the arts community, the

industry players in the creative cluster and tertiary institutions (Annex E), it was felt that

both the feasibility and desirability of the proposed school would also be enhanced if it

maintained close relations and a strong collaborative network with its various

stakeholders. Unlike a mainstream school, an independent arts school would require

dedicated resources for arts learning. Drawing upon such resources from the Singapore

and international arts and creative communities would ensure that the school remains

relevant to the fast-paced developments in these fields.

Conclusion 13. In studying the desirability and feasibility of setting up an independent school for the arts,

the conclusion is that such a facility and platform would best serve the needs of

Singapore in nurturing future artistic talents and recognising creative achievements.

Such a school would play an important role in the broader framework for the arts and

creativity to contribute to remaking Singapore.

29

Part Two – The Recommendations Taking into account the needs the proposed Arts School should meet, as well as the inputs it

gathered from consultations with the arts and education communities, parents, students and

other stakeholders, the Committee set out to establish the following –

� Objectives and Guiding Principles for the proposed School

� Arts and Academic Curriculum

� Graduating Qualifications

� Student Intake

� Teaching Faculty and Staff Requirements

� School Management Model

� Infrastructure Needs

� Capital and Operating Costs

� Implementation Steps

Its recommendations and the rationale are elaborated in Chapters 4 to 7 of this Report.

30

Chapter Four

OBJECTIVES & GUIDING PRINCIPLES ___________________________________________________________________ Objectives 1. As outlined in Chapter Three, an independent arts school is desirable as it would help

identify and groom our young artistic talents, raise the quality of entrants to our tertiary

arts-media-design programmes, and establish itself as a model of excellence in the arts

and arts education. In the broader picture of Singapore's development, such a school

would also play a role in providing more Singaporeans an avenue to pursue their diverse

aspirations.

2. To address the feasibility of such a school as well as the concerns of potential students,

parents and other stakeholders, the school would need to build up its relationship with

the arts community and related institutions. The school would also need to establish a

level of "permeability" with the national education system, and consider the higher

education and career development paths of its graduates.

3. Taking into account these considerations, the Committee set out the following objectives

of the proposed School:

(a) To provide a holistic academic and arts education for young artistic talents so as to

develop their potential to the fullest; thereby nurturing future generations of artists,

creative professionals, and patrons for the arts in all fields.

(b) To establish strong links with the arts community, public and private companies and

institutions, including educational institutions of excellent reputation, and have a

positive impact on the arts and education communities in Singapore.

31

Guiding Principles 4. The detailed recommendations on the curriculum, learning environment, faculty and

management structure, as well as the enrolment and graduation requirements for the

proposed school are in Chapters Five and Six of this report. In setting out these

recommendations, the Committee was guided by the following principles.

(a) Alignment with the National Education System

The school would remain relevant and be aligned to the existing national education

system. It would emphasise the pursuit of artistic and academic excellence in providing

for learning and development. "Permeability" with mainstream schools should be

maintained to allow students the option of re-entering a mainstream school if they

wished.

(b) Offer compelling and unique development opportunities beyond the scope and

expertise of mainstream schools

The school would provide a unique learning environment for its students to develop their

artistic and creative potentials to the fullest. These development opportunities would be

grounded in:

� Multidisciplinary learning and innovation – students would be exposed to arts

practices and art forms beyond their area of specialisation to promote cross-

disciplinary experimentation.

� Cross-cultural exposure and learning – students would be exposed to arts practices,

traditions and histories of various cultures.

� Technology for the arts – technology as a tool and media would be integrated in the

teaching of the arts and other subjects.

� Experiences outside the classroom – students' capabilities and knowledge would

also be developed through performances, exhibitions and competitions. The school

would also source for opportunities for interaction and work attachments with eminent

artists and professionals.

(c) Leverage on Singapore's strengths and unique cultural context

The school would build on Singapore's unique strengths, including its multicultural Asian

heritage and openness to local and foreign artistic talents. Specifically, the school’s

32

training would draw from practices of eastern and western art forms, reflecting the

strengths of tradition and modernity within Singapore and Asia.

(d) Involve the Arts Community as a committed stakeholder

The school would forge strong linkages with the arts community to immerse its students

in the vibrancy of contemporary arts practices. Strong linkages would also enable the

school to tap into the rich resource of artistic expertise, networks, facilities and exposure

opportunities for its students. The exposure will better equip students to fulfil their artistic

aspirations in Singapore and on the global stage.

33

Chapter Five CURRICULUM STRUCTURE ___________________________________________________________________

Summary of Recommendations

1. The school would provide a holistic and flexible curriculum that aims to fully develop its

students’ unique abilities, aspirations and ambitions. The school would adopt the

International Baccalaureate’s Diploma Programme as well as provide a well-rounded

specialised arts education.

Curriculum’s Defining Features 2. Based on the objectives and guiding principles established in Chapter Three, the

Committee recommends that the school’s curriculum incorporates the following features:

(a) Academic and Artistic Excellence

The school would be committed to delivering a curriculum that will provide the requisite

skills and knowledge to future generations of artists, creative industry workers and arts

advocates. The provision of strong academic education would allow students to

continue with tertiary education in other fields, if they wish. The arts curriculum would

concentrate on specialised arts training while fostering confidence in self-expression,

creativity and professional expertise.

34

(b) Integrated and holistic curriculum

In helping young minds think critically across diverse areas, a

desirable curriculum would be one that embraces a holistic

approach to learning. This would integrate the arts across the

curriculum and enrich arts training with the study of

humanities, languages, sciences and mathematics. Such an

integrated curriculum would adopt a multi-disciplinary

approach that capitalises on the arts’ unique ability to

communicate ideas and emotions, and would appreciate the

academic underpinnings of the arts. Learning would be best

accomplished by introducing innovative methods of curriculum

delivery which recognise the importance of presenting

information across disciplines in a coherent and meaningful

context. Students would be encouraged to develop skills and knowledge applicable in

more than one area of study. The ability to make connections and solve problems

through multiple perspectives and the capability to assimilate and analyse information

from different fields are essential skills in a knowledge-based economy.

(c) Flexibility

The curriculum would recognise and cater to the students’ unique academic and artistic

abilities. Both the academic and arts curricula would be delivered in a modular system

that allows flexibility in arts specialisation as well as focus in academic subjects.

Exceptionally talented students would progress on the fast-track and at a higher level in

their core specialisation while students desiring a more broad-based education would be

able to opt for breadth. These students of distinctive abilities, sensibilities and

aspirations would benefit from a flexible learning environment where they can inspire and

learn from each other. The flexibility of the modular system would also allow artistically

talented students to tailor their curriculum time to meet the training needs of international

competitions and performances.

(d) Balance between artistic pursuits and academic studies

The school is for young artistic talents who often face conflicts between their artistic

pursuits and academic requirements. The design of the school’s curriculum would

optimise scheduling of arts training and academic education to allow for efficient time

management. This would be achieved through the integrated approach to curriculum

“…education that is organised in such a way that it cuts across subject-matter lines, bringing together various aspects of the curriculum, into meaningful association to focus upon broad areas of study. It views learning and teaching in a holistic way and reflects the real world, which is interactive.” Shoemaker, B. ‘Integrative Education: A Curriculum for the Twenty-First Century.’

Definition of Integrated Curriculum, Oregon School Study Council

35

delivery and a modular curriculum structure. The curriculum would promote a holistic

arts learning environment that supports and is sensitive towards the various demands on

the students such as competitions, performances and exhibitions.

(e) Permeability

The school’s curriculum should remain relevant to the national education system to allow

lateral transfer of students at defined points. Students would be able to return to

mainstream schools should they choose not to pursue a specialised arts education.

Similarly, the school’s curriculum structure should allow students from the mainstream

schools to enter midstream.

Academic Curriculum

3. In view of the desire for an integrated curriculum that is relevant to the existing national

education system in Singapore, the Committee recommends that the school adopts

a curriculum which allows its students to pursue the International Baccalaureate

(IB) Diploma. The IB Diploma Programme is recommended for its flexibility and

breadth of education, which does not compromise on academic rigour. Moreover, the

objectives of the IB programme, which are to “provide students with a balanced

education, to facilitate geographic and cultural mobility and to promote international

understanding”, fit well with the guiding principles of the school. See Annex I for details

on the IB.

4. The IB curriculum possesses the following features which are desirable given the

school’s guiding principles and ethos:

(a) Flexibility and breadth

With a curriculum which provides flexibility and breadth of education, students would be

able to select the level of their courses, either at the higher level or standard level.

Flexibility in choosing higher-level concentrations allows the curriculum to be tailored to

suit the distinct abilities and personal interests of the students while fulfilling the

requirements for university entrance.

36

(b) Depth of thinking and inquiry

Under the IB Diploma Programme, students are required to fulfil the Theory of

Knowledge (TOK) requirement. TOK is an interdisciplinary feature that is designed to

stimulate critical reflection on knowledge and experience gained by transcending and

linking academic subjects. The aim of TOK is to promote a more philosophical and

perceptive frame of mind that promotes a greater depth of thinking and inquiry. Hence,

students are able to apply their knowledge with greater awareness and intellectual

agility.

IB Diploma students are also required to carry out original research and write an

extended essay of 4,000 words. This essay allows students to pursue their areas of

interest and become acquainted with independent research and extended essay writing

skills.

(c) Sense of identity and cultural sensitivities

The IB programme emphasises intercultural understanding and exposure to a variety of

points of views. This, coupled with features of the programme that promote personal

growth, will enrich the learning experience of the students.

Scope of Academic Curriculum

5. The IB Diploma Programme concentrates on offering a complete, broad-based

curriculum with emphasis on learning instead of just preparing for exams. Under this

programme, the following subjects could be offered:

• Languages (including literature).

• Individuals and societies: e.g. history, geography, economics, philosophy.

• Experimental sciences: e.g. biology, chemistry, physics.

• Mathematics and computer science: e.g. mathematics, mathematical studies,

computer science (elective).

• The arts: visual arts, music, theatre arts.

6. The IB Diploma Programme would be conducted in the last two years of the six-year

education. Prior to the IB Diploma Programme, the Committee recommends that the

37

implementation committee and the school management decide on the academic

programme to adopt for the first four years that would best prepare students to attain the

IB diploma. The pre-IB diploma options identified by the Committee are the Singapore-

Cambridge General Certificate of Education (GCE) ‘O’ Level programme, the IB Middle

Years programme or the school’s own pre-IB programme. This could be developed in

consultation with the IBO (Asia-Pacific Office). The school is to ensure that the chosen

academic programme in the first four years is aligned with the principles of the IB

Diploma Programme.

Arts Curriculum

7. As a school where the future generations of creative talents and arts advocates are

nurtured, the curriculum of the proposed school must recognise the unique artistic

potential of the students. Comprehensive specialised arts training enabling

grounding in high technical competency and the development of self-identity and

innovation will be fundamental elements of the arts curriculum.

8. Over and above specialised arts training, all students would receive basic training

across various art disciplines as foundation courses. These courses would allow the

school to impart a breadth of artistic awareness that would help the students’ overall

development. They would also provide basic training in the following areas:

• Movement skills – Students will learn to communicate through movement by

developing body discipline and basic dance techniques.

• Music skills – Students will learn music notation and be able to demonstrate basic

keyboard skills on the piano.

• Presentation skills – Students will learn basic presentation skills including the proper

use of the voice for effective communication.

• Basic drawing skills – Students will learn to develop and express their own

perceptions of the environment through increased visual awareness and sensitivity to

the forms and colours of their surroundings.

9. Education in history, conceptual and theoretical knowledge would allow for a more

well-balanced and complete arts curriculum. Students would acquire a more in-depth

38

appreciation and understanding of the arts. Subjects which provide grounding in the

history and critical theory of the arts would be incorporated into the curriculum.

10. Elective courses across arts disciplines including courses in traditional/ethnic arts

would be incorporated within the arts curriculum to enhance students’ creativity and

sensibilities to arts and cultural practices beyond their area of specialisation. Courses

emphasising integration and synthesis of multiple arts disciplines towards the creation of

a collaborative production would encourage inter-disciplinary experimentation. The

school would tap into the rich cultural resources in Singapore and around the region to

conduct courses in traditional/ethnic arts disciplines.

11. The arts curriculum would also feature industry exposure to professions within the

creative industries (e.g. media or design professions). The arts curriculum would

provide development opportunities beyond classroom education. Students would

acquire practical knowledge and learn about the business underpinnings of the

arts/creative industries through first-hand experience. Such exposure would include

performances, exhibitions, master classes and internships with arts companies and the

creative industries.

12. The use and application of technology would be a key feature in the arts curriculum.

Students would learn to exploit leading technologies both as a tool and a medium for

innovation through integrating technology and the arts. Students could be tasked with a

project that involves the use of technology in a chosen arts discipline. These could

allow students to further explore areas which might impact on their future career path,

for example if they choose to pursue technical production and management for the

stage.

Scope of Arts Curriculum

13. The Committee has recommended that the school will offer training in four arts

disciplines – Music, Theatre, Dance and Visual Arts. The detailed strands under each of

the core art disciplines will be decided at the implementation stage by the appointed

School Principal and the Heads of Arts Department. Students would opt for at least one

area of specialisation in the four arts disciplines offered in the school. Please refer to

Annex H for the basis for selection of arts forms.

39

14. The following are the key elements of the kind of specialised arts training that would be

offered in the school.

(a) Music

(i) The music curriculum would focus on developing technical facility on a chosen

instrument. Students would be further developed through training for solo

performance, ensemble and orchestra.

(ii) In addition, music students would be schooled in the theory and history of

music. This course of study would impart the necessary musical skills such as

composition, harmony and counterpoint so as to develop the ability to critically

analyse and evaluate music. With technology becoming integral to the music

profession, training in music technology would also enable students to use

computers and the like to better achieve their musical goals.

(b) Theatre

(i) The theatre curriculum would equip the students with the requisite foundational

skills and knowledge in the theatrical arts. The curriculum would emphasise the

acquisition of practical skills in acting, production, movement and voice. These

would be achieved together with the knowledge imparted in theatrical histories,

forms, methods and theories.

(ii) At the end of the course, students should be able to develop artistic

independence and critical skills. Important professional skills such as dealing

with auditions would be taught to students to ensure an awareness of the

requirements of a career in professional theatre.

(c) Dance

(i) The dance curriculum would provide students with comprehensive training in

classical ballet while embracing the experiences of other dance forms to

promote wider understanding and discovery. Classes in areas such as dance

technique, history, notation and basic choreography would allow emphasis on

developing strong technical and practical skills necessary for the demands of a

career in dance.

(ii) Dance students would also be encouraged to hone their creative expression

through the study of related arts such as music. Other courses such as pilates

and body control will help students develop physical mastery and build a strong,

40

versatile physique. Nutrition and anatomical awareness will help dancers avoid

injury in their future careers.

(d) Visual Arts

(i) The visual arts curriculum would emphasise aesthetic, intellectual and personal

development which are key in the nurturing of a visual artist. Perception,

communication and critical thinking skills would be developed through

cultivating visual awareness and sensitivity to surroundings, creativity and

appreciation of art history and culture. Visual arts students would be trained to

develop competencies in traditional skills such as drawing. They would work

traditionally and experimentally with a range of organic medium such as clay

and paint. They would also be able to apply basic design skills using

technological applications.

(ii) Besides training in technique, students would be encouraged to develop their

individual style and would be guided to develop their own portfolios.

Graduating Requirements

15. The graduating requirements of the school should be set to ensure that options for

future progression (to pursue tertiary arts education, tertiary education in non-arts

related fields or to pursue a career in the arts) are as varied and wide-ranging as

possible.

16. At the end of the six-year pre-tertiary education, students would need to fulfil the

requirements of the IB Diploma Programme to graduate with an International

Baccalaureate Diploma. The IB programme is an internationally recognised pre-

university qualification for direct admission in prestigious institutions worldwide.

Good IB Diploma scores will allow for advanced placement in universities such as the

Harvard University. All Singapore universities accept the IB diploma as an entrance

qualification.

17. In addition to the IB requirements, students would be required to undergo continuous

assessment of their learning outcomes in the arts. These assessments would

41

include students’ portfolios, performance / exhibition assignments, internships and

project work. The school would assess the feasibility of adopting external certification

systems (e.g. ABRSM) to provide an external dimension to its assessment system.

42

Chapter Six SCHOOL STRUCTURE __________________________________________________________________ School Model

1. The Committee recommends that the school adopts the independent school model.

The recommendation is made based on the key implications in funding structure,

relevant expertise and networks, and status of the school vis-à-vis the national

education system.

(a) An independent school, compared to an adjunct school, provides greater

autonomy in areas of school management, curriculum design, recruitment of

faculty and pedagogy. Such autonomy is clearly desirable as it allows the school

to fully commit its resources and expertise to fulfil its vision. Also, given that the

vision of the school and its ethos as set out by the Committee is fundamentally

distinct from existing schools in the mainstream education system, it would be

more desirable to adopt a school model that would allow greater leeway in

introducing new curriculum and innovative practices in education.

(b) The school would be recognised as an independent school by MOE and would be

aligned to the national education system. This would help ensure the permeability

between the school and mainstream schools to allow students to enter and exit at

designated points. The school would work with MOE to facilitate the lateral

permeability of students through formal arrangements with the mainstream

schools. The concept of an independent school model is relatively familiar to the

public and would be more easily accepted by parents.

(c) What is key in a vibrant arts learning culture is its ability to bring together students

with diverse artistic talents to create a sense of community enriched with cultural

interactions. The dichotomy of specialised arts students and non-specialised arts

43

students in the adjunct school model or the location of arts facilities in separate

venues may not be able to provide the interactive learning environment needed to

groom the young arts talents. A full-fledged arts school would best provide for a

total arts learning environment.

2. A diagram showing the map of Independent School viz. the existing education

landscape is at Annex J.

School Management 3. It is proposed that MITA assumes the responsibility as the overseeing Ministry

and would appoint a Board of Directors to manage the school. MITA has been

identified as the overseeing organisation to ensure that the direction taken by the

school is aligned with the overall arts and creative industries development initiative.

Moreover, MITA possesses relevant expertise and networks in the arts community and

creative industries to help the school forge linkages with the arts and related

industries.

4. As with other Independent Schools, the Committee notes that MOE would provide the

necessary teaching and administrative support which includes manpower support in

the secondment of teachers, development in the necessary administrative network and

relevant educational support.

School Facilities 5. The independent school can either construct a new building designed according to the

school’s specifications or transform an existing building to meet its needs. Essentially,

the school building should be a physical reflection of the school’s guiding principles

and resources should support the enhanced curriculum focus. It should be designed

to facilitate interactions among students and provide venues to exhibit artistic

achievements and innovations of the students. The school should be structured for

efficient and effective use of resources.

44

6. The school building should capitalise on the vibrancy and the arts infrastructure

already available within URA’s designated Arts, Cultural, Learning and

Entertainment District. The school can draw synergy from sharing the facilities and

specialist teaching staff within the district with the arts community, and wider public.

The new Drama Centre co-located in the new NLB Building, the new NAFA, LASALLE-

SIA College of the Arts and SMU campuses are among the many facilities that will be

built in the Arts District. In addition, the Singapore Art Museum and other museums

are in the vicinity, along with many arts groups currently housed under NAC’s Arts

Housing Scheme. By plugging itself into the Arts District, the school will benefit from

the rich human, artistic and physical resources available, and will also enrich the

District with its student population. The Committee projected that the school to be

operational at its premises by Year 2007.

7. The school’s academic infrastructure should meet the requirements of the IB diploma

programme. The key academic facilities include classrooms, science laboratories,

library and computer laboratories.

8. The school’s arts infrastructure should provide the necessary support for the arts

curriculum. The arts facilities are to be purpose-built to the specifications required for

specialised arts training. The key arts facilities include theatre / auditorium, black box,

gallery, group and individual music studios, visual arts studios, photography dark

studios, dance studios with sprung floors, multi-disciplinary practical spaces and

recording studios.

9. Given the significance of technology in enhancing the academic and arts curriculum,

the school would invest in acquiring cutting-edge technologies for IT-enabled learning

and experimentation. However, investing in equipment and software is insufficient.

The school will have to ensure maximum exploitation of the technology available by

ensuring staff expertise and proper integration of technology throughout the

curriculum.

10. Where possible, the school should also have sports facilities to be utilised for the

students’ physical education (PE) lessons, co-curricular or recreational activities.

45

Student Enrolment 11. The estimated annual intake in the steady state would reach 200 and would

achieve a total enrolment of 1200 for the 6 years. The estimated breakdown of

students by art disciplines are 70 for Music, 70 for Visual Arts, 30 for Theatre and 30

for Dance for each year of enrolment.

12. The school would also admit foreign students to broaden the base of young

talents in the school. This mix of talents in the student population would provide a

stimulating environment where students challenge and inspire each other. Interactions

with students from different cultural backgrounds and nationalities would also enrich

the learning experience.

Class Size

13. The academic class size would be intentionally kept small to cater to the different

subject concentrations selected by the students. This would also facilitate teachers in

adopting new teaching styles that encourage integrated delivery and cross-disciplinary

studies. Small class size would also promote independent and exploratory learning.

Each class would be capped at a maximum of 25 students.

14. The arts class size would optimise the training experience of the students and would

be determined by the objectives of the course and the requirements of the arts

discipline. The arts class size would also factor in the degree of personal attention and

coaching required for talent grooming.

Admission Requirements

15. Admission into the school will be merit-based and emphasis will be given to the

artistic potential of the applicants. The school will determine the selection criteria

and the most appropriate selection process for each art discipline. A jury would

assess the applicants by auditions, portfolio assessments or entrance exams (e.g. art

studio entrance exam).

46

16. Recognising that the young students may not possess the experience and training

required for auditions or portfolio assessments, the school will develop its feeder

network and preparation programmes in collaboration with primary schools and private

arts education providers.

17. In addition to artistic potential, students are required to demonstrate basic academic

achievements based on PSLE examination results. The school will determine the

minimum academic qualification requirements for admission to ensure that the

students are able to cope with arts training and academic studies. The school will

consider setting up assistance schemes for needy students who meet the admission

requirements.

18. The school will designate application periods to allow applicants to plan and prepare

for auditions. The school will have variable points of entry and exit that are appropriate

to both the school’s and the mainstream curriculum structure. Students who choose

not to pursue a specialised arts education can opt to leave the school and re-enter a

mainstream school. Likewise, secondary students from mainstream schools can apply

and be admitted midstream if they fulfil entry requirements.

Teaching Staff

19. The single most important resource in the school would be its teaching staff. The

school would pay particular attention to the recruitment and retention of high

quality teachers both in the academic and arts faculties. The teaching staff would

be supported by MOE. Due to the integrative feature of the curriculum, the teaching

staff from the academic and arts faculties would have to work closely to support each

other in the delivery of this unique curricular programme.

47

Academic Faculty

20. Academic teachers must be experienced and qualified to teach but they should also

appreciate the unique transferability of arts skills and are able to integrate arts across

the curriculum with or without the assistance of the arts teachers.

21. Teachers involved in the IB diploma programme would have to attend the IBO’s

teachers’ training workshops if they have no prior experience in teaching the IB

curriculum. In the initial years of establishment, leading up to IB authorisation, the

school may wish to hire an experienced IB diploma teacher to co-ordinate and manage

the development of the IB programme in the school.

Arts Faculty

22. The school is committed to acquire the expertise required for specialised arts training.

The arts faculty would comprise full-time qualified arts teachers complemented by an

adjunct part-time faculty of arts practitioners. The full-time arts faculty would be

encouraged to remain professionally active as this would help facilitate linkages to the

stakeholder communities and promote professional practices among its students.

23. Having practitioners teaching alongside would provide valuable insights to the leading

contemporary arts practices while introducing arts as a career to the students.

Practitioners would benefit from such employment opportunities without being tied

down to full-time employment in the school and the school may provide training

opportunities for practitioners who want to enter the arts education field. The arts

faculty would also welcome the development opportunities derived from working with

arts professionals.

24. The use of technical support professionals such as arts technicians, sound engineers

and lighting technicians would help support the school’s productions and at the time,

provide insights into the backend process of productions.

48

Sustainability (Linkages with Community)

25. To ensure its sustainability in demand, financial resources and expertise in specialised

arts education, the school would need to develop sustainable and meaningful

partnerships with its key stakeholders. The school aims to be a committed and active

partner within its community. It will do so by sharing its resources and expertise with

mainstream schools and other stakeholders in the community such as arts

practitioners and arts groups, higher arts education institutions and business

organisations. The school would also have to establish an international network to

sustain and enhance its role. The school can tap into the international community for

advisors in arts and education. Hence, it must constantly look out for international

talent – for its teachers, students, and governing board. As arts and culture are

dynamic and evolving, international networking will help ensure the school keeps at

the forefront of trends in arts and education.

26. The following are broad recommendations on the kind of linkages the school could

develop with its key stakeholders, while details of the partnerships will be left to the

implementing taskforce and the school’s management.

Linkages with the education community

27. The school would develop the following linkages with the education community:

(a) Develop feeder schools network: The school would link up with primary schools

and private arts schools/teachers to help identify young arts talents and groom

them to enter the school. The school could assist by developing arts education

programmes with primary schools. Special courses could be conducted to prepare

interested students for auditions or portfolio assessments for application into the

school.

(b) Establish formal links with higher arts institutions and IB schools: A possible

progression of the school’s graduates is to enrol in tertiary arts institutes. The

school could help identify clear paths of progression by establishing formal links

with reputable local and foreign higher arts institutions. Such formal links could be

in the form of advanced placement in tertiary arts institutes which would allow

49

graduates of the school to bypass the foundation year and commence certain arts

courses at a higher level. Other examples of formal links which could be

established are collaborative performance/exhibition platforms, professional

development opportunities for the school’s arts faculty or sharing of resources and

expertise. This network of schools could be extended to include IB schools. The

school could establish student exchange programmes in the area of arts and

academics with foreign IB schools.

(c) Promote arts education in mainstream schools: The school recognises that the

benefits of the dedicated arts facilities and the expertise of the arts faculty should

be extended to the external student community. The school could work with

interested schools on their arts education programmes or provide training

opportunities to external arts teachers. To further integrate into the fabric of the

local community, the school could also collaborate with mainstream schools on

community projects such as joint performances or exhibitions. A school

partnership system could be established to facilitate the linkages with mainstream

schools. Such a partnership programme between the arts school and the

mainstream schools is beneficial to participating schools. At the same time, the

arts school could play a role in developing educated and discerning future arts

audiences.

(d) Leverage on existing platforms: The school would identify existing platforms and

collaborate with local organisations that are already involved in developing future

artists so as to prevent the duplication of resources. One example of such

organisation is the Singapore National Youth Orchestra with which the school

could explore the possibility of forming mutually benefiting partnership.

Linkages with the arts community

28. Establishing close relations with the arts community will provide access to a network of

arts expertise and resources while facilitating interaction between students and the

arts community.

(a) Professionals as part of the arts faculty: The use of arts professionals as adjunct

faculty members of the arts faculty would help the school manage breadth and

diversity in the arts curriculum without over-extending resources. Short-term artists

50

in residence and master classes could further enrich and intensify the specialised

arts training.

(b) Affiliation to arts companies: Another progression path of the school’s graduates is

to enter the arts profession. By being associated with arts companies, the school

could provide career guidance with the assistance of arts companies. Arts

companies could also extend performance or attachments opportunities to the

students. Such platforms would allow the arts companies to identify and help

groom potential young artists.

29. The school would work with arts companies to formalise working arrangements on

sharing resources such as facilities usage, adjunct arts teachers and organisation of

master classes with visiting artists. The school could also explore the sharing of

facilities with existing arts schools and arts groups/companies within the school

premises for efficient use of resources and for promoting synergies among the

different key stakeholders.

Linkages with the private sector (e.g. creative industry)

30. Partnership relations with the private sector are usually on the basis of philanthropy

and public relations. The school should look at developing meaningful partnerships

beyond that. For example, the media and design industries could also contribute by

providing critical inputs into the curriculum. The school could arrange for companies in

the creative industry to provide career guidance to students who intend to enter the

creative profession.

31. The school could provide assistance in industry development, for example,

collaborating with industry players to provide part-time courses for establishing MVQs

(minimum vocational qualifications).

51

Linkages with parents & general public

32. The school could establish a not-for-profit organisation for alumni and friends.

Membership could be open to alumni of the school, faculty member, parents and

anyone who wishes to be a contributing member of the school. This organisation

could be involved in securing funding, establishing an endowment fund for

scholarships, programming of school’s arts activities with the staff and communicating

with the alumni.

52

Chapter Seven

IMPLEMENTATION & BUDGET ___________________________________________________________________

Funding & Budget

1. To develop a new school for the arts, the Committee proposed that government provides

for the total capital cost (excluding land cost) of $80m. This sum was based on

relative estimates from the capital cost for developing a new school in a central location,

to be equipped for academic and arts learning. This sum is also comparable to the

development costs of new city campuses of NAFA and LASALLE-SIA, as well as of other

independent schools.

2. The Committee further estimated an annual operating cost of $18m for the school in its

steady state. The annual operating cost is based on estimates of manpower costs,

including the recruitment of quality teachers, and the cost for developing a unique

curriculum and arts programmes.

3. The Committee estimated that the annual revenue for the school would include total

school fee revenue of $7.2m in its steady state, with enrolment of 1200 students. This

estimate is based on monthly school fees of $500 per local student, and the higher fees

of $1000 per foreign student. The Committee recommended that the implementation

committee should study the appropriate level of school fees further, and strongly urged

that scholarships be also made available to talented students who may need financial

assistance.

4. The Committee noted the support extended by the government to the development and

operation of the Sports School. It also noted the support extended by the Ministry of

Education to independent schools. However, to better meet the estimated annual

operating cost of the Arts School, the Committee recommended that over and above the

Ministry of Education grants, the government provide a further operating subsidy. The

53

Committee also recommended that the school actively seek support from the private

sector and foundations. This would also ensure that the school forges strong links with a

wide range of stakeholders and help to build up a stronger base of arts patrons in

Singapore.

5. The funding obtained should be channelled into optimising the learning experiences of

the students. The Committee proposed that the priority in the allocation of budget

expenditure should be on enhancing the quality of software aspects of the school, e.g.

teaching faculty, instead of over-investment in state-of-the-art infrastructure.

Implementation

6. In implementing the recommendations for the Arts School, the Committee recommends

that MITA establishes an implementation taskforce to include members with the

relevant expertise and know-how in education and the arts. This taskforce would

oversee the following:

(a) Appointment of the Architect/Design of the Proposed School

(b) Construction and Development Project of the Proposed School

(c) Design of the academic and arts curriculum

(d) Recruitment of key members of the staff

(e) Establishing strong linkages with a network of relevant arts groups and education

institutions in Singapore and overseas

(f) Establishing support from community and private sector

(g) Marketing and Public Communications of the Proposed School to the public

7. The Committee recommends that MITA recruit a Principal of the Arts School to be an

active member of the Implementation taskforce. As the public communication and

marketing of the school would be important in building public support and parents'

confidence in the school, the Committee recommends that MITA provide or recruit the

necessary communications personnel.

54

8. The Committee also recommends that MITA starts to identify the members for the

school's Board of Directors, and that these could comprise some of the members for the

implementation taskforce.

i

Annex

ii

Annex A List of Committee Members

Chairman Mr Lee Tzu Yang Chairman, Shell Companies in Singapore Council Member, National Arts Council Deputy Chairman Mr Lim Joo Hong Senior Advisor, Singapore Computer Systems Ltd Members Mr Khor Kok Wah Director, Arts & Heritage Development, MITA Ms Carmee Lim Executive Director, The Academy of Principals Mr Philip Ong Deputy Director, Planning, MOE Ms Carol Tan Deputy CEO, National Arts Council Dr Kelly Tang Assistant Professor, Dept of Visual and Performing Arts Nanyang Technological University Mr Robert Tomlin Vice Chairman, Asia UBS AG Chairman, Singapore Repertory Theatre

iii

Annex B List of Organisations Consulted

The Committee held expert consultation sessions with the following organisations on the desirability and feasibility of a pre-tertiary specialised arts school. Academic Institutions in Singapore* � LASALLE-SIA College of the Arts � Nanyang Academy of Fine Arts � Nanyang Technological University � National Institute of Education � National University of Singapore � Singapore Sports School Foreign Tertiary Arts Institutes � Goldsmiths College, University of London, UK � The London Institute, UK Foreign Pre-tertiary Arts Institutes � Fiorello H LaGuardia High School (aka the "Fame" School), New York, USA � Los Angeles County High School for the Arts, California, USA � Arizona High School for the Arts, Arizona, USA � The High School for Performing and Visual Arts, Texas, USA � Marylebone Church of England School, London, UK � Victorian College of the Arts Secondary School, Melbourne, Australia � Newtown High School of the Performing Arts, Sydney, Australia. Arts Community* � I-Dance Central � Singapore Dance Theatre / Singapore Ballet Academy � Singapore Symphony Orchestra Other Agencies � Economic Development Board, Education Services Clusters � International Baccalaureate Organisation, Asia Pacific Regional Office *The Committee also held extensive focus group discussions with artists, arts teachers and principals. Please see Annexes B.1.1 & E for more details.

iv

Annex B.1.1 List of Consultations with Arts Community

Many members of the arts community were invited to give their views on a specialised school for the arts. This includes individuals from the following companies/organisations in the creative industries: 1. Ah Hock & Peng Yu 2. Art Management Associates 3. Arts Theatre of Singapore Limited 4. Clay Cove 5. Colour Me Mine 6. Dance Spectrum International 7. EasternWorld Holdings Private Limited 8. Gajah Gallery 9. Huqin Quartet 10. I-Dance Central 11. Immortal Design Station 12. Language Arts Educational Services 13. Muvee Technologies Private Limited 14. Nrityalaya Aesthetics Society / Bhaskar’s Arts Academy 15. PERKAMUS (Association of Malay Singers, Composers & Professional Musicians) 16. Philbeat Studio 17. Philips Design Singapore 18. Practice Performing Arts Centre Limited 19. Recording Industry Association (Singapore) 20. Singapore Chinese Instrumental Music Association 21. Singapore Dance Theatre / Singapore Ballet Academy 22. Singapore Drama Educators Association 23. Singapore Indian Orchestra & Choir 24. Singapore Life Art Society 25. Singapore Symphony Orchestra 26. Singapore Youth Orchestra 27. Six Planes & Partners 28. Southeast Asia Art Association 29. Sun Yu Li Sculptures 30. T’ang Quartet 31. Teater Artistik 32. The Arts Fission Company 33. The Necessary Stage Limited 34. The Substation Limited 35. WORK 36. Young People’s Performing Arts Ensemble Limited

v

Annex C Creative Industries Development

Economic Contributions of the Creative Cluster In Singapore, the creative cluster contributed 3.2% to the GDP in 2000. The cluster has been growing at 14% from 1986 to 2000, surpassing the 10.5% growth of the overall economy.11 In 2003, the creative industries were recognised in the Economic Review Committee Report as one of three new and promising service areas to promote. The development of the Creative Industries would: (i) Serve as a strategic enabler to differentiate our products and services through

design, branding and marketing; (ii) Grow Singapore’s economy by tapping on the burgeoning global demand for

creative, leisure and entertainment goods and services (iii) Contribute towards Singapore’s vibrancy and buzz, reinforcing our position as a

global hub for talent and enterprises.

Creative Industries Development Strategy The Creative Industries Development Strategy comprises the following 3 initiatives: (a) Renaissance City 2.0 Initiative: Focused on developing the Arts and Culture industries,

encompassing photography, visual arts and antiques industry, contemporary & recording music industry, performing arts and theatres. The Renaissance City 2.0 Initiative will continue the work of the initial Renaissance City Plan in growing Singapore's arts and cultural base of audience and talents, while developing new programmes to support the arts and cultural industries and to seek greater collaborative and partnership opportunities between arts, business and technology.

(b) DesignSingapore Initiative: Focused on developing the design industries, encompassing software design, advertising, architecture, interior design, graphic and visual communications design, industrial and product design, fashion. The DesignSingapore

11 Department of Statistics, Ministry of Trade & industry (2003).

0 .2%

1.6% 1.4%

DesignSoftware, Architecture, Advertising,Interior Design, Graphic Design,Industrial Design, Fashion

MediaPublishing, TV & Radio,Digital Media, Film & Video

Arts & CulturePhotgraphy, Performing Arts,Visual Arts, Art & Antiques Trade,Crafts,

Figure 1. %GDP contribution of the Creative Industries, by Sector (2001)

vi

Initiative looks to better integrating design in Singapore businesses, seeding the development of unique designs from Singapore through research and prototyping, promoting a pervasive design culture and nurturing an integrated design cluster of education institutions, expertise and enterprises. As the Initiative also aims to position Singapore as a gateway for creative design in Asia, it will seek to raise the level of international design activities in Singapore and to promote Singapore design and designers overseas.

(c) Media21 Initiative: Focused on developing the Media Industries, encompassing

publishing/print media, TV & radio, digital media, film/cinema and video. The Media21 Blueprint aims to establish Singapore as Asia's media marketplace and financing hub, while growing the media products and projects by Singapore for the global market.

vii

Annex D Tertiary Programmes in Arts, Media & Design

O Programme is available (*) NTU's School of Design and Media, slated to open in 2005 (#) NUS is reviewing the readiness of LASALLE-SIA and NAFA to issue NUS degrees for visual arts Diploma Degree Programme

Institution

VISUAL ARTS O O (#) Fine Art LASALLE-SIA, NAFA

O Art (Teaching) NAFA

O O (*) Multimedia Art LASALLE-SIA

O Education with Art specialisation NIE/NTU

O Education with Art Specialisation, Art Education NIE/NTU

DANCE O O Dance LASALLE-SIA, NAFA

DRAMA/THEATRE O O Drama/Theatre LASALLE-SIA, NAFA

O Theatre Studies (major) NUS

O Drama (Technical Arts) LASALLE-SIA O Education with Drama and Performance specialisation NIE

MUSIC O Piano Pedagogy LASALLE-SIA

O O Music NUS, LASALLE-SIA, NAFA

O Music (Contemporary Music) LASALLE-SIA

O Music (Music Technology) LASALLE-SIA

O Music (Teaching) NAFA

O O Education with Music specialisation NIE

O Diploma in Music Education NIE

ARTS MANAGEMENT O Arts Management LASALLE-SIA

O Arts Management (Performing Arts)/ Arts & Events Management NAFA, TP

FASHION DESIGN & MERCHANDISING O O Fashion Design LASALLE-SIA, NAFA

O Diploma in Fashion/Apparel Merchandising and Marketing NAFA, TP

Industrial & Product Design O (*) Product and Industrial Design TP

O O Industrial Design NYP, NUS

O Product & Interface Design LASALLE-SIA

Interior Design & Architecture O O Interior Design/ Interior Architecture & Design LASALLE-SIA, NAFA, SP,

TP O Architecture/Architectural Design SP

Visual Communication Design O (*) Graphic Design LASALLE-SIA, NAFA

O (*) Communication Design/ Visual Communication LASALLE-SIA, NAFA, TP

Media O O (*) Multimedia.Interactive/Digital Design NAFA, TP, NYP

O (*) Film, Sound and Video NP

O O Mass Communication/ Media and Communication NP, SP, NTU

O Media Management TP

O Information and Communication Management NUS

viii

Annex E Focus Group Findings

Background The Committee consulted key stakeholders on their insights, concerns and recommendations for its study on the desirability and feasibility of a pre-tertiary specialised arts school. A series of 14 focus group discussions involving the following key groups of stakeholders was held. � 3 Student Groups (Primary, Secondary, Junior College, Arts Colleges) � 2 Parent Groups (Children in Primary and Secondary Schools, and Junior College) � 5 Arts Community Groups (Dance, Theatre, Visual Arts and Music) � 3 Arts Education Community (Arts Teachers of AEP/MEP, Arts Colleges and Private Arts

education providers, Principals) � 1 Creative Industries Group (Design, Media and Arts Industry) Current Education System There was general agreement that the current options for pre-tertiary arts education /training were limited in nurturing young arts talents. The reason for such a feedback was that the current options for pre-tertiary arts education in mainstream schools were not positioned as platforms for arts training for the artistically talented. Rather, these options were offered to provide a more balanced education to students with an interest in the arts. The key limitations of the current arts education programmes conducted in mainstream schools include insufficient focus on practical/performance training, inadequate curriculum time dedicated to arts learning, narrow scale/scope of arts disciplines offered in schools and more critically, the lack of a seamless and viable development pathway of young artistic talents. Hence, some students were not able to receive the complete support required to reach their full artistic potential. The need to address the inadequacies of the existing education system for specialised arts training and the current conflicts between artistic and academic demands on the students surfaced repeatedly during the focus groups discussions. Desirability of proposed specialised arts school Some felt that the setting up of a specialised arts school would send a strong signal to the public that the government was committed to recognising interests and talents in the arts, and was taking steps to help develop the local artistic talents. The proposed school was deemed desirable to most as they felt that such a school would provide local development opportunities for those highly-talented in the arts. The school would be able to provide more dedicated and intensive pre-tertiary training in the arts. The presence of such a school would also create a cumulative effect – resulting in an increase in quality of entrants to tertiary arts and arts-related programmes and indirectly contributing to the overall development in the arts and creative industries. A school dedicated to the arts could also provide the total arts learning environment needed to nurture young artistic talents. Students would be able to learn from and be inspired by

ix

their peers and teachers who share similar passion in the arts. Such a school could also appropriately prepare aspiring young artists for careers in the arts Feasibility of proposed specialised arts school Options for tertiary education in arts or non-arts related fields must be made available to graduates of the proposed arts school. Hence, there was agreement that the school should provide a good academic grounding for its students. The school should provide permeability to allow students to opt out of the school if they want to rejoin mainstream education. Likewise, students from mainstream schools should be able to enrol in the school midstream if they demonstrate talent in the arts. Many emphasised the need for a flexible, modular curriculum that would optimise the different talents and interests of the students without over-stretching them. Such a curriculum would also allow students to better balance the demands of their academic studies and their artistic pursuits. To further enhance specialised arts training, many recommended that arts theory, arts history and humanities be incorporated into the arts curriculum. Cross-disciplinary learning was also recommended to stimulate creative innovation. The other features highlighted that would make the school feasible in Singapore’s context were high quality arts faculty and small class size. Possible challenges To establish and operate a specialised arts school would require a large amount of funding given that the training of an arts professional was both time-consuming and costly. Long-term sustainability in funding was a key concern among many. There were calls to leverage upon existing resources and expertise and not to duplicate efforts. Some raised concerns about the availability of qualified local arts teachers to teach in the proposed arts school. The government must continue to help develop a conducive ecosystem for arts and creativity to flourish so as to ensure the long-term sustainability and relevance of the proposed arts school. The overall effort in fostering the arts and creative industries was highlighted as an important factor for its impact on the career prospects of young arts talents. In particular, arts education in mainstream schools should continue with its efforts towards developing future arts audiences. The school might also face the challenge of attracting young arts talents to the school if the feeder pool was not further developed. Another key challenge for the school was to change the negative mindset of parents and public towards arts education and a career in the arts. Conclusion The feedback revealed that many saw the need to establish a pre-tertiary specialised arts school for the young arts talents in Singapore. However, many raised practical concerns on the setting up of such a school. For instance, public misconceptions of the arts, limited promotion of the arts in mainstream schools and funding.

x

The Committee reviewed the feedback obtained from the focus group sessions and has addressed the concerns raised in relevant parts of this report.

xi

Annex F Survey Findings

Summary Conducted between January and February 2004, the quantitative survey provided strong justifications for the setting up of the proposed specialised arts school. The survey targeted parents of Pri 5 & Pri 6 students who excelled in the arts. It was conducted with assistance from MOE. There was a common sentiment that the current education system did not adequately provide a foundation for students to fully develop their talent in the arts or pursue a career in the arts (>50% of respondents). 44% of the respondents (or about 528 parents) were receptive to sending their child to the proposed school. Of these12% indicated they would definitely send their child to the school. The main reason for parents willing to send their children to the proposed school is the opportunity it afforded to further their talents and interest in the arts. Affordability and career prospects were also key factors of consideration. While parents desired specialised arts training, a higher focus on arts training resulting in less time allocated for academic education was relatively undesirable. The parents surveyed also favoured the International Baccalaureate over the Cambridge examination system. A majority indicated their preference for a flexible, modular curriculum and most expressed liking for incorporating industry exposure within the arts curriculum. 1 in 6 parents was reluctant to send his/her child to the proposed school. Key barriers were general lack of interest from the child, a preference for academic qualifications, and a perceived lack of career prospects. The top three factors influencing parents’ decision to enrol their children in the proposed school were:

a. Quality of teachers b. School fees; & c. Ratio of time allocation for arts and academic subjects.

xii

Sample Profile12 Targeting parents of Pri 5 & Pri 6 students who excelled in the arts, the sample consisted of 1200 completed questionnaires collected from 52 mainstream primary schools and 6 private schools.

Table 1 Sample Profile

Frequency counts Percentage of total Mainstream schools 1131 94% Private arts schools 69 6%

Base = All respondents (N = 1200) A majority of the selected students were in the stream of EM1 and EM2. They were mostly involved in music or dance activities.

Chart 1 Type of arts activities or arts-related CCA that child is

involved in (in school and/or outside school)

<1%

7%

23%

36%

62%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Others

Theatre

Visual Arts

Dance

Music

Current Education System More than half (56%) of the parents felt that the current education system was not providing their children with adequate grounding to fully develop their talent in the arts.

Chart 2 Do you think the current education system is giving your child/

students adequate grounding to fully develop their talent in the arts?

24%

56%

20%

0%

20%

40%

60%

80%

100%

Yes No Don't know

12 Survey Sample Primary Schools, as shortlisted by the Ministry of Education to have demonstrated strengths in the arts, were invited to participate in the survey along with some private arts schools. Each school was requested to select 20-30 students who excelled in arts and/or arts-related CCAs and distribute the questionnaires to the students for self-completion by their parents.

xiii

Similarly, 62% of the parents believe that the current education system does not prepare aspiring students for a possible career in the arts.

Chart 3 Do you think the current education system has done enough to prepare

aspiring students to pursue a possible professional arts career later?

15%

62%

23%

0%

20%

40%

60%

80%

100%

Yes No Don't know

Demand for Arts School 7 in 10 parents indicated they would encourage or allow their children to continue with their arts education or arts-related activities after primary school.

Chart 4 Extent to which parents would encourage/allow their child to pursue arts

education in secondary school.

33%

38%

20%

6%

3%

0% 5% 10% 15% 20% 25% 30% 35% 40%

Very likely

Quite likely

Neither likely nor unlikely

Quite unlikely

Very unlikely

Through the survey, parents were asked to indicate whether they would send their child to a specialised arts school. 44% of the parents surveyed were receptive to the idea. While 4 in 10 parents remained undecided.

xiv

Chart 5 Likelihood of sending child to the proposed specialised arts school

5%

11%

40%

32%

12%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Definitely would not send

Probably would not send

Might or might not send

Probably would send

Definitely would send

Base: All respondents (N = 1200)

Desired Features of the School To test the relative importance and desirability of the main attributes of the proposed specialised arts school (as identified through an earlier qualitative survey), a framework of conjoint analysis was used in the survey questionnaire. Parents were allowed to evaluate a range of features that the proposed school could offer and were then asked to make judgements to determine their most preferred school model. Parents placed the highest importance on the quality of arts faculty (almost 5 times as important as the next most important feature – school fees) as a key factor influencing their decision to send their child to a specialised arts school.

Chart 6 Level of importance of possible features of proposed specialised arts school

2.51

3.94

5.43

10.56

14.93

62.62

0.00 20.00 40.00 60.00 80.00 100.00

Academic Qualifications

Arts Curriculum Objectives

Academic Class Size

Time allocated for arts vs. academic subjects

School fees (non-boarding)

Arts Faculty (Quality of Teachers)

score*

* Note: The higher the score, the more important the factor is to the respondent

POSITIVE : 44%

xv

The findings of the conjoint analysis also revealed the following combination of features as was most desired by parents:

Table 2 Top Ideal specialised arts school

Features Choice

Quality of teachers: Arts teachers with both strong teaching and industry experience

Academic qualifications: International Baccalaureate Diploma

School fee (non-boarding): $200

Time allocated for arts vs. academic subjects:

50% arts training : 50% academic training

Arts curriculum objectives: Provide specialised arts training

Academic class size: 15 – 20 students

xvi

Annex G

Overseas Arts Schools

Schools Visited The Committee visited the following schools: � Fiorello H LaGuardia High School (aka the "Fame" School), New York, USA � Los Angeles County High School for the Arts, California, USA � Arizona High School for the Arts, Arizona, USA � The High School for Performing and Visual Arts, Texas, USA � Marylebone Church of England School, London, UK � Victorian College of the Arts Secondary School, Melbourne, Australia � Newtown High School of the Performing Arts, Sydney, Australia. Common Features Observed The following are some common features of the school: � Focus on both academic and artistic excellence � Highly competitive entrance criteria by academic merit and audition (total enrolment

sizes vary between 300-2400) � Graduating qualifications for university entrance, majority to leading universities and

conservatories for both arts and non-arts degrees � Full state funding, supplemented by private donations (especially in USA) � Highly close links with the arts community for teaching resources and

collaborative/performance opportunities Note on Asian case studies Although the Committee did not get a chance to visit any schools in Asia, it conducted desk research on such schools in Japan, Korea and Thailand (national arts school for young talents). They are largely state schools similar in structure to the American, Australian and UK schools, with the exception that Asian traditional art forms are also integrated into the curriculum. Hong Kong is planning to open its High School for Art, Media and Design in 2005. The school will be funded by the HK government.

xvii

Description School Structure/Model

Resources

USA, New York Fiorello H LaGuardia High School (aka "Fame" School) It is the first independent, public-funded high school for the arts in New York. In additional to academic students, the school offers a programme for the visual and performing arts. Today, the school is the leading high school particularly for the performing arts in USA. Its graduates gain admission into top arts institutions (e.g. Julliard School, Berklee School of Music) and academic universities (e.g. Harvard, Yale). Its alumni have excelled in virtually every in the arts, sciences, public service and other professions.

4-year High School(ages 14-17), with University advanced placement programme Curriculum Full academic and arts curriculum Enrolment Size of 2400 (40% visual arts, 60% performing arts) Admission by academic merit and competitive audition (13,000 applicants/year)

Teaching/Facilities Teaching staff of 90 academic staff and 65 arts staff Funding State funding of US$7000/student/year, with private donations Others Close partnership with performing arts centres and arts companies

USA, California Los Angeles County High School for the Arts Started in 1985, the school is a free, public high school providing specialised instruction in dance, music, theatre and visual arts. The school has also developed new programmes in film, musical theatre and animation. Its graduates are recruited and receive scholarships from the leading art institutes in USA and the world.

4-year High School (ages 14-17), with University advanced placement programme Curriculum Full academic and arts curriculum Enrolment Enrolment Size of 540, with ethnic mix Admission by academic merit and competitive audition

Teaching/Facilities Located on the California State University Campus, with shared facilities Funding State funding of US$5,500/student/year, with Foundation linked to the School (approx US$1m/year) Others Strong support from parents local arts community

USA, Arizona Arizona School for the Arts The ASA, a downtown Phoenix charter high school started in 1995, is envisioned as a high achieving, academic school intended for students who wanted to work with professional artists as part of the core school experience.

7-year Middle and High School (Age 11-17), with University advanced placement programme Curriculum Full academic curriculum. Arts curriculum concentrates on performing arts. Enrolment Enrolment size of 350 Admission by academic merit only.

Teaching/Facilities 20 academic staff, 38 arts staff (on service contract) Funding State funding of US$5,000/student/year with private donations and other grants.

USA, Texas The High School for the Performing & Visual Arts Started in 1971 to meet the special needs of young people who are both gifted artists and scholastic high achievers. It is a public-funded school for specialised training in the arts (first outside New York) for aspiring

4-year High School (Age 14-17), with University advanced placement programme Curriculum Full academic and arts curriculum

Funding State funding of US$3,600/student/year, with private donations and strong alumni support

xviii

young artists. 40% of its graduates are admitted to top conservatories and art institutes, and 60% pursue other academic areas.

Enrolment Enrolment size of 650 Admission by academic merit and competitive audition

Others Close links with arts community

UK, London St Marylebone Church of England School The school is a specialist arts college for girls, under the UK Specialist School Scheme, a scheme providing the option & resources for schools to make the transformation from a mainstream school to one offering specialisation. The school is the most successful specialist school for the arts under this scheme, where its students have shown the greatest improvement in results following the transformation.

6-year programme (Age 12-18), leading to A-levels Curriculum Full academic curriculum where the arts is integrated in all aspects of teaching/learning, and with a strong emphasis on performing arts. Wide exposure and training in the arts are provided. Enrolment: Size of 800, from inner city London Admission by academic merit only (no arts audition as students may enter without any arts background)

Funding Funding as per mainstream schools, with additional state funding of GBP100,000, and raises GBP50,000 Others: Extensive workshops and classes with arts community

Australia, Melbourne Victorian College of the Arts Secondary School Founded in 1978, the school is part of the Victorian University's College of the Arts. It combines a specialised training programme in the arts and general academic education to prepare talented young people in music and dance. The school emphasizes academic excellence, with a high percentage of its graduates continuing their higher education in music, dance or drama.

6-year School (Age 13-18), leading to the Victorian Certificate of Education (equivalent to A-levels or IB) in music/dance and other subjects. Curriculum: Full academic and arts (minus visual arts) curriculum Enrolment: Size 300 (120 applicants for 50/60 places a year). Admission is highly competitive

Teaching/Facilities 25 full-time faculty, leveraging on university faculty and visiting artists for additional teaching. Co-located with the Victorian College of the Arts Funding Full direct state funding (i.e. not the University)

Sydney, Australia Newtown High School of the Performing Arts Founded in 1990 through the merging of 2 small high schools, it is the first government school in NSW to offer a continuous academic and arts programme. The starting point is not to produce artists for the arts industry, but to provide an education through the arts.

6-year High School (age 13-18), leading to the Higher School Certificate (equivalent to A-levels or IB) Curriculum Full arts and academic curriculum, with accreditation of dance/drama/music courses for university entrance Enrolment: Enrolment size of 800 (160 applicants for 120 places) Admission through audition and interviews

Funding Full state funding Others Close links with national and international arts groups

xix

Asian School Case Studies Hong Kong Hong Kong School of Arts, Media and Design13 The Hong Kong Institute of Contemporary Culture Limited (HKICC), as a sponsoring body, plans to set up and operate a senior secondary school as a learning community that puts creativity at the heart of its education process.

4-year Senior Secondary Programme (Age 16-19) Curriculum Broad-based liberal arts curriculum with examinable subjects by the Hong Kong Examination Authority. Non-examinable subjects cover the Arts, Design and Media. Enrolment Projected enrolment size of 900.

Teaching/Facilities A projected number of teaching staff required is 32. In additional to full-time teaching staff, the School will engage part time teachers and creative industry professionals as guest lecturers. Funding Under the direct subsidy scheme, the School will receive subsidy from the government as well as school fees from students.

Japan Kyoto City Dohda Senior High School of Arts Founded in 1880, the school caters mainly to local students from the Kyoto city area.

3-year programme (Age 16-18) Curriculum Visual arts curriculum includes Japanese painting, western art, sculpting, fashion art, etc. Enrolment Enrolment size of 330. Admission by recommendation or by entrance exam.

Funding School receives state funding.

Japan Akita Municipal Junior College of Art and Craft Akita Municipal Junior College of Art and Craft has an affiliated high school that its graduates can advance to after their 2 years study at the junior college. Works by its students have been shortlisted and nominated for many arts festivals and prestigious awards.

3 year programme (Age 13-15) Curriculum The school has 2 departments – Department of Handicrafts (woodwork , oil painting, drawing and ceramics) and Department of Industrial Design (Production design, audio and visual design, environmental design) Enrolment Enrolment size of 150 Admission by recommendation or by entrance exam.

Teaching/Facilities Department of Handicrafts – 12 professors Department of Industrial Design – 29 professors Others The school provides internship programmes and overseas research programmes for outstanding students.

13 Information obtained from The Hong Kong School of Arts, Media and Design School Plan (October 2001).

xx

Annex H Considerations for Arts Curriculum

Based on the following criteria, the Committee has recommended that the school will offer training in four art disciplines – Music, Theatre, Dance and Visual Arts.

(a) Basic arts training. The school would focus on the basic core art forms to ensure that students aged 13-18 are equipped with the requisite knowledge and skills for future artistic development. This is to ensure that the students stand in good stead for progression into tertiary arts education or arts profession upon graduation.

(b) Crucial to have early training. In art forms where early intensive training is

crucial for development, there exists a relatively greater conflict between academic and arts education. Such art forms (e.g. music, dance) require students to undergo intensive training when young to develop their full potential.

(c) Leverage on Singapore’s strengths. The initial selection of art forms should

capitalise on Singapore’s current strengths. Strategic review of Singapore’s potential in the arts, building upon and raising the standards in art forms and creative industries in which Singapore already has reasonable success, should be made subsequently. Singapore’s unique position at the confluence of east and west should also be considered in finetuning the arts curriculum.

(d) Demand. The proposed school should consider this criterion to finetune its future

arts curriculum. With time, demand trends are likely to be apparent to the school’s decision-maker.

The following table broadly summaries the selection of art disciplines to be offered in the school:

Criteria Art Forms

Foundation Arts

Education

Early Training Crucial

Singapore’s Strengths Demand

Music (vocal / choral, band /

orchestra) � � �

Theatre � �

Dance (ballet, modern) � � �

Visual Arts � �

To be considered in future finetuning of the arts curriculum. Current arts education is an indication.

Note: Language arts could be taken as part of language training in the academic curriculum, as it is considered to be part of exposure to literature and writing skills.

xxi

Annex I International Baccalaureate (IB) Diploma Programme14

Established in 1968, the IB Diploma Programme is a 2-year pre-university course of study. It was developed as a deliberate compromise between the specialisation required in some national systems and the breadth preferred in others, without bias towards any particular national systems. IB students are accepted by universities in more than 100 countries. The development of the Diploma Programme was based on three fundamental principles: � the need for a broad general education, establishing the basic knowledge and critical

thinking skills necessary for further study � the importance of developing international understanding and citizenship for a more

peaceful, productive future � the need for flexibility of choice among the subjects to be studied, within a balanced

framework, so that the students’ options could correspond as far as possible to their particular interests and capacities.

The overall aims of the programme are to: � provide an internationally qualification for entry into higher education � promote international understanding � educate the whole person, emphasising intellectually, personal, emotional and social

growth � develop inquiry and thinking skills, and the capacity to reflect upon and to evaluate

actions critically. The Diploma Programme Curriculum Model The IB Diploma Programme hexagon model depicts 6 academic areas and the core elements of the programme (Theory of Knowledge, the extended essay and creativity, action, service).

14 Schools’ Guide to The Diploma Programme, International Baccalaureate Organisation, obtained from the IBO public website – www.ibo.org.

xxii

Students study six subjects from the six subject groups: � Group 1 Language A1: first language, including the study of selections of world

literature � Group 2 Language A2: second modern language courses for various levels of

proficiency; classical languages � Group 3 Individuals and societies: history, geography, economics, philosophy,

psychology, social and cultural anthropology, business and management, information technology in a global society, history

� Group 4 Experimental sciences: biology, chemistry, physics, environmental systems, design technology

� Group 5 Mathematics and computer science: mathematics, mathematics methods, mathematics studies, further mathematics, computer science

� Group 6 The arts: visual arts, music, theatre arts Students also have to fulfil the three additional core requirements. Theory of Knowledge (TOK) is an interdisciplinary requirement intended to stimulate critical reflection on knowledge and experience gained. Each student is required to submit one essay between 1,200 and 1,600 words, from a list of 10 titles prescribed by the IB Organisation for each examination session. The extended essay requires students to undertake original research of their own interest and write an extended essay of 4,000 words. Students may choose to write on a topic in one of the 22 subjects or write on a subject that is not included in the diploma course. Creativity, Action, Service (CAS) allows students to develop greater awareness of themselves and concern for others, as well as the ability to work cooperatively with other people. Students are expected to be involved in CAS activities for at least 3 – 4 hours each week during the 2 years of the programme. Assessment Students sit for examinations at the end of the 2-year course of study. An essential element of IB assessment is that standards are the same worldwide. Examiners are trained to assess work from an agreed framework using common IBO “mark schemes”.

xxiii

Four-year Art or Music Elective Programme startingfrom Secondary One, leading to the O-level Art orMusic examination

Depending on the availability of trained teachers, students may opt to sit for Art or Music at O-levels starting from Secondary Three.

PSLE

Selected Secondary Schools (Art or Music Elective Centres)

Other Secondary Schools

GCE O-level Examinations

Junior College (inc. selected JC Art or Music Elective Centres)

A-level or equivalent Qualifications (e.g. IB)

Universities: Local and Foreign

Arts Colleges* Three-year visual or performing arts Diploma at LASALLE-SIA or NAFA

Two-year Art or Music Elective, and Theatre Studies Programme at selected JCs, leading to A-level and S-level equivalent examinations

Poly-technics Three-year Design or Media-related Diploma at NYP, NP, TP and SP Specialised

Independent Schools � Proposed

Arts School � Singapore

Sports School � NUS High

School for Science and Maths

AGE 16

AGE 16-19

AGE 12

AGE 19>

��

��

��

�

Annex J Arts School and Map of Education landscape

Lateral Progression possible Progression to Higher Education

�� Students with interest and/or talent in the Arts

xxiv