Big Ben, the West End, the Chinatown or the fish and chips. According to London’s official website, I quote: "London is the place where the historic past and the vibrant present come alive. A blend of history, ground-breaking architecture and culture has created an amazing and constantly evolving city." The British have used the tagline "Totally London", and we have come up with "Uniquely Singapore". What is Singapore unique for? What does it mean to be a Singaporean? In the past, the Government has had various initiatives to develop and market the Singapore identity. There was the creation of the Merlion, the orchid motif Singapore Dress, we even came out with the National Ideology, with a set of shared values and Singapore 21. The Government can set a vision, but I think the national identity is best forged from the ground up. Our local Chinese pop culture is one good example of Singapore culture that has found a life on its own, without much governmental support or intervention. I would like to give illustration now in Mandarin. (In Mandarin): [For vernacular speech, please refer to Appendix A*.] Our Chinese pop artistes have done well. At the recent Global Chinese Music Awards held in Singapore, Stephanie Sun won five awards, including most Popular Female Artiste and Best Album. Tanya Chua was the best female vocalist at the prestigious Taiwan Golden Melody Award. Besides singers, our composers like twin brothers Li Weisong and Sisong, Liang Wenfu, lyricist Xiao Han and music producer Billy Koh have groomed and worked with some of the top singers in Chinese pop. I must say 20 years ago, as a young boy infatuated with Chinese pop, I never dreamed that Singaporean singers or songs would ever make it this big. Pop songs do play a big part in our growing-up experience, be it Beatles, Abba, Canto pop, J-pop or K-pop. For me, it was xinyao, literally translated as Singapore Songs. They were simple and amateurish, but it had a huge following in the eighties, and, in my opinion, that was the foundation of the Chinese pop success we are seeing today. We should embrace Singapore pop culture more. Singapore Tourism Board has appointed pop singer JJ Lin Junjie as its ambassador for the Chinese market. This is a good illustration that pop culture can also help with tourism receipts and economic returns, like what we have seen in Hollywood for the US, Bollywood for India and Hallyu for Korea. There is a lot more potential we can explore. (In English ): Another unique part of the Singapore identity is our language. While Singlish is not, and should not, be our official language, it is one of the most accurate tell-tale signs that helps us identify fellow Singaporeans in a foreign city. Singlish gave us the word ‘kiasuism’, which is technically not a ‘Uniquely Singapore’ trait or behaviour, but a universal one. In fact, I think Mr Bean is someone who has presented the true flavour of ‘kiasuism’ perfectly. While Rowan Atkinson illustrates it best in his actions and facial expression, it is here in Singapore, where we have found the very word to describe it! Having said that, I fully applaud the Huayu Cool and Speak Good English campaigns, as with globalisation, besides understanding fellow countrymen, we need to communicate, and communicate well with people around the globe. I used to travel to the Netherlands, and learned that the Dutch is one of the most linguistically talented people as most of them speak at least three languages. As a predominantly Chinese population, Singapore has access to two of the most widely spoken languages in the world. Some people may remind me that it is not a good comparison as there are similarities within the Indo-European family of languages, but English and Mandarin are fundamentally different and will be difficult languages to be mastered at the same time. However, I am happy to observe that we do have increasing numbers of bilingual talents in Singapore. A senior radio manager recently shared with me that it is now easier to find good bilingual deejays. I also see many TV reporters now filing news with equal competence and eloquence on both Channel News Asia and Channel 8 News. I was watching Forbidden City two months ago, and, like many in the audience, I was impressed by Kit Chan’s powerful vocals. It suddenly dawned upon me that perhaps it is only in Singapore, can we find a talent who is equally at ease on the stage of Forbidden City and the Chinese musical Snow Wolf Lake. Having said that, there is more that can be done to leverage on the population profile of Singapore and make us a truly bilingual, if not trilingual or even multi-lingual society. To master a language, one needs an environment to listen, speak, read and write. I believe the Government can take the lead to provide this environment. The term "East meets West" is often coined on Singapore, but I think Singapore is equally, if not more, a "East meets East" society. Our forefathers brought with them their long history, culture and traditions from China and India, and with the indigenous Malay heritage, today we enjoy the diversity and richness of different races, religions and languages. I have to admit, Sir, that I used to be a skeptical young Singaporean who sees the faces of different races and different colours on official materials as totally deliberate and artificial. However, in July this year, I was treated to a spectacle of colours and vibrancy of our varied cultures when I watched Soundwaves put up by the People’s Association. As someone familiar with stage productions, I gave it top marks in its tastefully integrated performance representing our cultural mix. This is true creativity and artistic vision at work. Besides the creative director of Soundwaves, Dick Lee, who is no stranger to intercultural experiments with his Fried Rice Paradise and Mad Chinaman, there are also many examples you can find in Singapore. For example, the Singapore Chinese Orchestra has shown its versatility with Malay melodies, and theatre director Ong Keng Sen is well known in the international arts scene for his intercultural Shakespeare-inspired trilogy which beautifully fuses various Asian performing art forms. Recently, I watched a local Hokkien opera based on the Indian epic Mahabharata scripted and produced by the Chinese Opera Institute. We should encourage this special blend of cultures. A tourist would be more interested in our local performances which truly reflect our delicious "rojak" heritage. Having said that, a blend of cultures will only be meaningful and successful if there is first a strong foundation in the respective cultures, whether it is traditional or contemporary. It is the artistic stroke of creativity that will conjure the magic. We must remind ourselves that we should not be looking for overnight or even near-term success. It took xinyao or Chinese songs some 20 years to evolve into the successful Singapore pop today. I am glad to note that besides investing in physical arts and cultural infrastructure, the Government will be encouraging a greater diversity of involvement in our arts and cultural sectors. I would like to point out that good quality works is one key prerequisite to draw audiences. Hence, we must not neglect the investment in capabilities to create more original and interesting artistic and creative works. I often lament that in land-scarce Singapore, much of our physical heritage has to give way for new developments. Most of my student days can only be relived in my memory, with my teachers, ex-classmates and through old photographs, as many of my school buildings are no longer standing. Some have even ceased to exist in name. This is where arts and culture can play a significant role. I am not a nostalgic person, but we can use arts and culture to inform the young generation of the past, sometimes not too distant past, and not to take things for granted. As I read the grand plans under Intelligent Nation 2015, I cannot help but remember the days when mobile communication is not so prevalent. In a play I produced in 1991, a doting mother bought a mobile phone for her daughter who was moving to the university hostel so that she could call her every night. That scene was greeted with a round of 'wows' in the audience, but 15 years later today, even a primary school kid carries a mobile phone! Movies can also serve as historical documents. I remember vividly the images of our humble provision shops in Eric Khoo’s film Be With Me. As the movie travels in the international film festival circuit, audiences around the world will discover another facet of Singapore that may not be spanking clean and modern, but a very real and authentic facet of our society which is fast disappearing. This is more engaging than a picture in the archives or museum. Now, I would like to move on to the subject of new media, another means of self and cultural expression. New media’s impact on the young, to say the least, has been massive. Compared to traditional media, new media is much less structured; it is more informal and also more difficult to control. It is a virtual world with its own parameters, rules and regulations. Its estate or space is both private and public. It has both advantages and disadvantages, presenting new opportunities and solutions as well as new problems. It is a force to be reckoned with and most people in the developed world cannot envision a future without it. We are beginning to see its social, political and economic powers. It was reported recently that Google UK is poised to overtake UK’s main TV stations in advertising revenue within the year. It is therefore a wise choice that the Government has identified interactive and digital media as a new sector to grow. We should harness the power of both new and old media, for instance, in using them for cross communications and marketing to different audiences. The popularity of Singapore Idol and the Idol format around the world was largely due to its ability to leverage on both the traditional TV media and the new mobile media. It manages to engage the audience and turn them into fans who like the power to be able to pick their winner.