The Borak Arts Series 2013 Executive Summary...The Borak Arts Series 2013 Executive Summary About...

The Borak Arts Series 2013 Executive Summary About the Borak Arts Series The Borak Arts Series brings together various stakeholders from the performing arts industry. Among the stakeholders present are arts practitioners, corporations, government agencies, funders, creative entrepreneurs, and other concerned parties. With the theme “Break Boundaries: Building Sustainability in Arts”, it seeks to provide a platform for stakeholders to critically discuss on core issues of the performing arts industry – such as financial sustainability and policies – and to mutually learn about best practices and new ideas. The Borak Arts Series is an initiative supported by the government and is one of the “quick wins initiatives” developed by JKKN. Government’s roles and policies

The National Department for Culture and Arts (JKKN) is an agency under the Ministry of Tourism, Arts and Culture and is responsible in implementing all cultural and arts activities in Malaysia. Among its responsibilities are: research and development, outreach, training, preservation and promotion of arts programmes, and implementation of intellectual discourses. While recognizing the importance of the nation’s cultural arts heritage, the government is looking at the arts from wider perspective. Guided by the National Creative Industry Policy (DIKN) and Economic Transformational Plan (ETP), the objective of the creative industry has enlarged into “Arts for the Economy”, i.e. as an income generator and economic growth catalyst. Consequently, JKKN has developed six action plans to be carried out within 2012 and 2013. The six broad categories are: content development, talent development, empowering performing arts activities, establishing new performance spaces, internationalization of performing arts product, and development and marketing. The action plans are developed consultatively with stakeholders of the industry under a tripartite cooperation system involving the government, industry, and private sector. Arts practitioners raised issues concerning the lack of clarity in terms of vision and direction for the industry besides making arts an economic agenda; inadequate measurements on the impact of the implemented initiatives; and absence of data on the market for analysis. Funding and financial sustainability Funding and financial sustainability remains as a key issue as there are various gaps in the ecosystem – in corporate partnership, grant-seeking capacities, and audience-base. The Malaysian arts community has traditionally relied on self-funding for their projects, but more support is needed in order to sustain and growth the community. The government provides grants for both commercial and heritage preservation purposes. Through JKKN, grants are available under the Talent Development Programme (mentoring and apprenticeship programmes) and the Empowering Performance Arts Activities for grants such as production cost reduction grant, and New Malaysian Works grant. The amount of grants available could not

commensurate with the amount of productions needing one; therefore, corporate support is necessary to sustain and grow the industry. Grant processes need improvement as it is highly inaccessible; there are inadequate centralized and user-friendly information, infrastructure, and mechanisms for practitioners to access it. In addition, there should be more spaces and opportunities for practitioners to participate and contribute in strengthening the process. In the 2012 national budget, the Prime Minister announced that the government will allocate RM200 million to set up MyCreative Ventures. MyCreative does not give out grants but it invests in the industry via equity investment and loan/debt financing. The objective is to move away from subsidies and grants to encourage more entrepreneurship. It assists growing businesses in the creative industry in transforming from a low income generating business towards being sustainable and profitable. Art practitioners also need to explore sustainable business models to be sustainable. In addition to the creative aspects of the arts, the business fundamentals need to be improved and further developed in order to sustain themselves. There is a need to grow arts business leaders and equip practitioners with basic business skills that can be applied to their daily operations. Content monetization strategies could be adopted, for example TV broadcasting and social media strategies. This is also interconnected with other key issues such as audience development, ticket prices, intellectual property rights protection, and promotional activities. On the other hand, there are practitioners who opined that the arts in not an industry because it is not a commercial being. Despite the many struggles and obstacles, practitioners have been managing the business aspects of their craft; but what is needed is to develop better understanding of the support mechanisms and systems available and be part of the conversation. Corporate Support The corporations’ role in aiding the ecosystem through partnerships and sponsorships is imperative in making arts sustainable and accessible to the masses. Corporations funds initiatives that are in line with its values and priority areas. In evaluating proposals, the key factor of consideration is impact, i.e. whether the proposed programme would deliver meaningful and measurable benefit to society. Additionally, other factors of consideration may include: governance system (e.g. financial transparency of the applicant), track record, and adherence to application procedures and criteria. In sponsorship support, corporations would evaluate the return on investment for sponsoring an event or production. Returns are evaluated in terms such as advertisements, brand exposure, and goodwill generated. However, it is difficult to determine the extent in which the arts is part of the corporate sector’s ROI analysis. Such issue is systemic in nature. Not all corporations are supportive of the arts. Therefore, more awareness-building needs to be done to highlight the importance of the arts in our nation’s culture and lifestyle. The struggle for practitioners is to get this message across to the corporate sector. On the other hand, corporations would not be supportive of the arts if the public is not interested in it. Corporations also face challenges such as receiving tax deductions for contributions towards the arts.

The gap between stakeholders needs to be bridged. There must be synergy between the: government by providing clear direction and policies; private sector by increasing commitment and support to the arts; and practitioners by finding a common ground that would be in the interest of all parties. Experiences from other countries Beginning the late 1990s, the popularity of Korean culture – including dramas, movies, and music – increased dramatically in what is known as the “Korean Wave” phenomenon. The Korean Wave has spread to 235 countries in the world and resulted in the growth and increase in exports of the content industry and manufacturing industry. Presently, the Korean government is creating new paradigm centred on culture by embedding the value of culture in all aspects of society the Korean government. The three main focuses for arts and culture in Korea are: cultural renaissance, creative economy, and happiness of the citizens. The Korean Arts Management Service (KAMS) is a non-profit organization under the Korean government established in 1996 to enhance competitiveness of arts in Korea. It serves as a platform for arts professionals to strengthen their capacity and to promote distribution of Korean arts. To these ends, KAMS has developed and organized various programmes, such as the Seoul Performing Arts Market, funding for international touring, and informational newsletters. In Australia, the Australia Council for the Arts is fully government-funded, but maintains its independence. The Council works collaboratively with artist to drive forward the arts agenda, on issues such as grant-making and research. Australia has adopted a new cultural policy, i.e. Creative Australia, as a result of the growing need to reduce bureaucracy and to enable artists to create work and reach audiences in a more flexible and effective manner. Evaluation is embedded into many of the programs and initiatives run by the Council. In addition to traditional quantitative measures such as number of seats filled, the Council also evaluates the value and transformational impact of the arts – for example public attitudes towards the arts, and the role of the internet. Researches on the creative workforce, statistics on the arts sector, and the audience has enabled further analysis and insights to improve arts and culture in Australia. Cultural exchanges International collaborations and touring are necessary to enhance artistic content, open up new possibilities, increasing market share, and build greater recognition. Additionally, established groups travel as part of their financial sustainability strategy. In 2011, Strange Fruit – an Australian outdoor performance company – collaborated with Noreum Machi – a traditional-future fusion musical group from Korea – on an arts exchange programme. For the group, international collaboration reinvigorates existing performance and allows it to continue growing and developing its art form. In Japan, both traditional and contemporary art performers are able to tour successfully because of the huge demand around Japan. The availability of an audience base enables the performers to be sustainable, even without funds from the government.

The Japan Foundation Kuala Lumpur office has facilitated various Japanese performance arts into Malaysia, such as the Mansai Nomura Kyogen performance in December 2012, and the Bunraku Traditional Japanese Puppet in June 2013. This is in line with the foundation’s purpose to conduct arts and culture exchange. It is difficult for an artist or performance group to tour locally or internationally if they are not well-known of has a large fan base, even if the quality of performance is excellent. Currently, Malaysian artistes struggle to fund themselves on their own to collaborate. Support from the government and corporate sector is therefore important in making this possible. The government is supporting this via strategic partnerships and collaboration with organizations such as MYPAA, Kakiseni, My Dance Alliance, and Theatre Management Associates. Emerging models and other issues In designing new buildings and developments, arts and culture can add value to the property. It is important to think in terms of contribution towards the liveability of the city, place, or environment. The model adopted by new performing art centres such as Pubika, PJ Live Arts, and dpac, is a workable one, where the arts is brought to the public by incorporating them within a retail or residential district. This makes art more accessible to the public and would, in the long run, broaden the arts audience base. Independent creative entrepreneurs are increasingly creating new frontiers by putting their creative talents into businesses such as food, music, fashion, publishing, graffiti arts, comics, etc. The key challenges facing creative entrepreneurs are the lack of funding and recognition, and access to larger market. Cities in Malaysia have great potential to host and develop arts festival. The Georgetown Festival has shown how an arts festival can regenerate a city. It has made an invaluable difference to Georgetown and in people’s perception towards it as a centre for contemporary production and high quality international work. Likewise, the Urbanscapes festival has become a platform for audience and practitioners to take ownership and become active participants in the arts. Audience development is a key issue in the arts industry. To this end, social media could be used to promote content across different sub-sectors. The Ministry of Tourism, Arts, and Culture also needs to work with the Ministry of Education to cultivate young audiences via the schools. Promotional activities were often overlooked by produces because of limitations such as time and resources. These activities could be streamlined and better supported, for example by leveraging on the government’s informational hub.

Table of Content Welcoming Address ........................................................................................................... 7

Opening address ................................................................................................................ 8

Keynote address -‐ The Big Picture of Malaysian Arts and Culture ..................................... 10

Session 1: How Arts Changes Countries ....................................................................................... 14

Panellist 1: Ms Eunhee Kim, Assistant Manager, KAMS Connection Programme, Korea Arts Management Service (KAMS) ......................................................................................................... 15

Panellist 2: Ms Collette Brennan, Director, Market Development, Australia Council for the Arts 17

Panellist 3: Pn Ramlah Amir, Director, Arts and Culture Product Development Division, National Department for Culture and Arts (JKKN) ........................................................................................ 20

Session 2: How Arts Revitalises A City .......................................................................................... 22

Panellist 1: YBhg Dato’ Faridah Merican, Co-‐Founder and Executive Producer, The Actors Studio, Kuala Lumpur Performing Arts Centre (klpac) and Penang Performing Arts Centre (penangpac) . 23

Panellist 2: Ms Bilqis Hijjas, President and Head of the Creation and Presentation Network/ Director, MyDance Alliance / Rimbun Dahan ................................................................................. 24

Panellist 3: Ms Nani Kahar, Partner, labDNA .................................................................................. 25

Session 3: Why Support The Arts? -‐ A Corporate Perspective .................................................. 27

Panellist 1: Pn Yatela Zainal Abidin, Chief Executive Officer, Yayasan Sime Darby ........................ 28

Panellist 2: Mr Pun Kai Loon, Artistic Director, Dama Orchestra ................................................... 30

Panellist 3: Mr Azrani Rustam, Director of Corporate Affairs and Communications, JT International Berhad (JTI Malaysia) ...................................................................................................................... 31

Session 4: Cultural Exchange -‐ Case Studies ................................................................................ 32

Panellist 1: Mr Phillip Gleeson, Creative Director, Strange Fruit, Australia .................................... 33

Panellist 2: Dr Joseph Gonzales, Dean, Faculty of Dance, ASWARA ............................................... 34

Panellist 3: Ms Mio Yachita, Assistant Director / Head of Cultural Affairs Department, The Japan Foundation Kuala Lumpur .............................................................................................................. 35

Session 5: Content Monetisation – How It’s Done ..................................................................... 37

Panellist 1: Mr Hans Isaac, Managing Director and Creative Director, Tall Order Productions Sdn. Bhd. ................................................................................................................................................ 38

Panellist 2: Mr Samuel Seow, Managing Director, Samuel Seow Law Corporation ....................... 40

Panellist 3: YBhg Datin Sofia Jane Dato’ Azman, Actor ................................................................... 41

Session 6: The New World of Arts ................................................................................................. 42

Panellist 1: Mr Adrian Yap, Founder, Urbanscapes ........................................................................ 43

Panellist 2: Mr Azizul Latif, Creative Business Consultant, Urban Village ....................................... 44

Panellist 3: Mr Muzaffar Mustapa, Assistant Vice President Editor Digital, Astro Awani .............. 45

Special Sessions ................................................................................................................................ 46

The Korean Wave – Beyond Boundaries ........................................................................................ 47

Investing In The Creative Industry .................................................................................................. 50

Can The Arts be Sustainable? -‐ A Discussion With The Industry ................................................... 52

Panellist 1: Dr Fadhlullah Suhaimi Abdul Malik, Director, NKEA Communication & Infrastructure (CCI) Agriculture and NKRA Rural Development, Performance Management & Delivery Unit (PEMANDU) ......................................................................................................... 52

Panellist 2: YM Tunku Alizakri Alias, Executive Producer, PAN Producer .................................. 53

Panellist 3: Dr Joseph Gonzales, Dean, Faculty of Dance, ASWARA .......................................... 54

Panellist 4: Ms Jo Kukathas, Artistic Director, The Instant Café Theatre Company .................. 55

The Performing Arts Town Hall ...................................................................................................... 56

Welcoming Address Ms. Izan Satrina, CEO of My Performing Arts Industry (MYPAA) The Borak Arts Series is made possible with the support from the National Department for Culture and Arts (JKKN), Ministry of Tourism and Culture, Ministry of Communication and Information, and 1Malaysia Contemporary Art Tourism (1MCAT). Borak Arts seeks to address the issue of sustainability in the arts industry. It hopes to bring together various stakeholders from the industry to discuss on core issues and gaps in the ecosystem; such as, among others, partnership with corporations, grants available, and tax exemption benefits.

Without the commitment from all parties, it is difficult to create a self-sustaining arts industry. The corporations’ role in aiding the ecosystem through partnerships and sponsorships is imperative in making arts accessible to the masses. On the other hand, enabling policies and facilitation from the government are also needed to build and sustain the ecosystem, which would it turn contribute to the country economically. Borak Arts aims to break boundaries and lower barriers between stakeholders in the industry: practitioners, public and private partners, international peers, the government, and many others. It is hoped that the programme will generate healthy dialogues on various key issues and create mutual assistances between the stakeholders; and not forgetting, for the delegates to rediscover the colorful diversity that Malaysia arts world has to offer.

Opening address YBhg Datuk Norliza Rofli, Director-General of the National Department for Culture and Arts (JKKN) The Borak Arts Series is a Malaysian initiative to provide a platform for local and international academic and artists to interact, discuss, and exchange views on matters relating to the arts. The scope of JKKN responsibility is wide, among which are: research and development, outreach, training, preservation and promotion of arts programmes, and implementation of intellectual discourses. JKKN is excited with the new possibilities lying ahead, especially with the merger between the Tourism Ministry and the Culture ministry. This widens the growth possibility for the arts while highlighting the importance of the cultural and artistic treasures of Malaysians. The creative industry is the core to the development of the other facets of the industry, for example voiceovers and TV productions. In 2008, the creative industry contributed 1.27% or RM9.4 billion of Malaysia’s GNP and engaged 45,000 of the Malaysian workforce. Two years later, this has increased to 5.8% of GNP and engaged around 100,000 people. There are more than 2,000 NGOs that are active in different aspects of the arts. Information on these NGOs is accessible at JKKN’s website @ http://www.jkkn.gov.my/ms/service/senarai-ngo No. Non-Governmental Organization (NGO) Total 1. Dance 415 2. Theatre 301 3. Music 470 4. Painting 257 5. Photography 201 6. Batik Painting 77 7. Martial Arts 350 8. Traditional Games 70 9. Oters 193 Total 2,334

NGOs are JKKN’s partners which enables the department to undertake various programmes. In 2012, JKKN implemented 2,668 activities involving 3.2 million Malaysians. The arts have not been sidelined in the government’s transformation plans. The government is looking at arts from wider perspective, i.e. as an income generator and economic growth catalyst. The 2010 budget speech by the Prime Minister included a clear focal point pertaining to the arts industry as economic growth generator. The content and communication infrastructure sector was identified as the major driver of the creative industry. Under the then Ministry of Information, Communication, and Culture, seven areas were given priorities, and committees encompassing government agencies and other stakeholders were set up.

JKKN leads the performing arts committee and seed funding has been allocated for the committee to initiate new initiatives that could boost the art industry to greater heights. The two key criteria set by PEMANDU for such new initiatives are: impact and sustainability. The Borak Arts Series is one of the “quick wins initiatives” developed by JKKN. Together with several other initiatives, it is helping create a new energy in the arts industry to drive it forward.

Keynote address - The Big Picture of Malaysian Arts and Culture YBhg Datuk Dr. Ong Hong Peng, Secretary General, Ministry of Tourism and Culture Malaysia (MOTAC) Malaysian Cultural Heritage “Malaysia Truly Asia” is the tourism and cultural brand of Malaysia. For the past 55 years, Malaysians have lived harmoniously under the banner of solidarity among the three main races (Malay, Chinese, and Indians), over 32 ethnic races in Sabah and Sarawak, and many other minority groups such as, among others, the indigenous people, Portuguese community, and the Thai community. The vast proliferation of culture and history makes Malaysia uniquely positioned in terms of the arts. In the golden era of the Melaka Sultanate during the 15th century, the city was the entry port for the eastern and western traders. This marked the beginning of multiculturalism and the intertwining of cultures via assimilation which were strengthen by intermarriages, understanding, acceptance, and tolerance towards each culture. More than 500 years have gone by but many of the aspects from the era still prevail today. Remnants of unique buildings still decorate the city of Melaka. Together with Georgetown, Melaka obtained the UNESCO World Heritage status in 2012. Artifacts salvaged from the surrounding sea proved that this country filled with cultural richness and diversity. Likewise, findings of the Hindu temple remnants in Lembah Bujang, depicts that other culture have long thrived in this country. The culture richness that Malaysia has is an asset to the country. It should be preserved not only for the future generations, but to generate economic income through tourism. Balancing the modern and traditional aspects of the arts Culture is dynamic and evolutionary; and so are the four pillars of culture as penned down by the cultural school of thoughts, i.e. artifacts, arts, thoughts, and norms and values. These are integral parts of culture that evolve through time. Of the four pillars, the most apparent is the arts because it gives intrinsic, esthetic, and semantic values. Conservatives to the arts believes that tradition should not be compromised at any cause. While we acknowledge this, tradition per se could be mundane in today’s world of technology. Preservation of traditional arts in the form of performances should be enhanced not only in terms of technical esthetics, but more importantly to conform to its era of its performance: lengthy pieces are to be adjusted to suit the audience’s precious time, stage presences to be glamorous, multimedia technology to be exploited advantageously, and through technical audio visual systems that sums up the overall quality of a performance. The content of traditional arts is in the responsible hand of dramaturges, playwrights, and choreographer. They are the ones who receive the public acclaim or criticism for the interpretation of their artistic works. There should be a balance between improvised work and tradition, so that tradition is maintained and developed.

Our cultural richness must be fully harnessed. Inspirations like nature and social issues should be translated and developed into new content that could enrich our arts databank. In the pursuit of the development of new content, our traditional and cultural norms and values should not be sidelined but prioritized in order to be a fully developed nation in our own mould. At present, the arts is viewed as an industry and as an economy. But the arts is more important than that because as we continue to be developed as a nation, arts have an important role to play. Funding for the arts The quality of a production is partly associated with the amount of allocation it receives. It is a worldwide phenomenon that funding for the arts is a never ending issue. The government has tried to ease this burden by dispersing grant, but the amount of grants available could not commensurate with the amount of productions needing one. As a result, the arts fraternity had to dig deeper into their pockets to sustain and develop their work, while balancing the production budget to make profits for future sustainability. This balancing act is a trade to be mastered and is very important; but more creative funding mechanism and business models need to be developed. This issue can be assisted if corporation assume a bigger role in this as part of their CSR. However, sponsorship may be hard to come by if the productions are not of the required esthetic level as deemed by the patrons. Hence, it may be hard to break cycle unless the public is supportive of the arts, and this is where the support from the private sector is pertinent. The government commends the bold initiative of corporate giants such as YTL, Sime Darby, and Petronas who played a part by building venues for performance arts as part of their CSR. More corporations should step forward to support the industry. Facilities and venues An additional issue is the lack of good venues for the different genres of performing arts. For example, Kuala Lumpur is presently well equipped with performance halls for theatre and orchestral performances. However, it lacks quality performance halls for large scale concerts, resulting in many of such performances being held in multipurpose halls or stadiums. In this regard, plans should be formulated to build more performance venues to meet the increasing demand of good quality productions. This issue is further aggravated if Malaysia were to embark into branding the performing arts as a tourism product, especially for international tourists. Talent Pool A sustainable performing arts environment also requires a good talent pool. Malaysia is not short of talented actors, dancers, singers, musicians, and other creative talents. However, a study commissioned by the government in 2002 – on the human resource development of the national creative industry – identified that there is a need in job and skills areas in props and sets construction, production, stage operation management, concept development, and commercialization ability. In other words, these are the gaps that need further development and capacity building to grow and support the creative industry.

Such talent building cannot be achieved solely through academic and theoretical studies; years of hands on experience are needed. As such arts institutions are encouraged to take in young talents, especially graduates to developed their knowledge and skills. Emphasis should also be given to secondary school leavers who may not be academically qualified but have the passion for this vocation. Internationalization Homegrown success alone may not suffice for artists to achieve a satisfying career, or even a good level of income. Local artists should aim for overseas expansion and to be on par with their international peers. Many Malaysian artists have made it big internationally and won international acclaim, for example Dato Siti Nurhaliza, Dato Sheila Majid, and Hands Percussion. Malaysian artists have also won numerous gold, silver, and bronze awards at the annual World Championship of Performing Arts since debuting in 2007. But in terms of content, except for Puteri Gunung Ledang which has made a big splash in Singapore, rarely do we find local content making an impact outside of Malaysia. Internationalization strategies should be mobilized to achieve higher recognition and deliver monetary returns to the country. A global approach is the key to a successful pursuit at the international level. For Malaysian performance art products to be known internationally, Malaysia should seek to provide infrastructure for performing arts trading amongst sellers and buyers. It is perhaps timely for a performance arts market to be established where productions and venues are displayed as products, and international agencies and promoters congregate to choose and affirm business dealings. This approach should be backed by a critical mass of high quality and sellable products to merit such undertaking. Alternative forms of performance arts Art practitioners should strive towards demand-driven performance art products for a more rewarding career. For example, busking is an up and coming genre in performance arts. Walkways and open spaces are fast becoming centre stage of performance arts as buskers display their skills. The move by the Kuala Lumpur City Hall in licensing and permitting these talents to perform is a positive one. The City Hall has gazetted approximately ten areas in Kuala Lumpur as busking areas, thus creating a more conducive environment for the artists. The government calls upon artists to take advantage of such an opportunity provided by the city hall. There is immense potential in busking as an alternative form of entertainment for both local and international audiences. Governmental policies for the Creative Industry For the performance arts industry to be sustainable, the government has charted the strategic direction and implemented key initiatives to spur the industry. Under the Economic Transformation Plan (ETP), the government has prioritize communications and content infrastructure as one of the twelve key economic areas to be developed.

The Department of Culture and Arts (JKKN) has drawn up six plans of actions to be carried out within 2012 and 2013. These plans aim to propel the industry as an income generator for the country. With a budget of RM17 million, it is expected that the industry will be spurred to create more jobs and create more Malaysian performance arts, thus increasing the volume of local content. These programmes under the ETP are in line with the National Creative Industry Policy which was approved by cabinet as the main framework for the development of the creative industry. The policy focuses on making all creative activities more productive, and to create economic synergy with the public and private sector. Culture Trust Fund Through such public-private partnership view, the prestigious Royal Arts Gala was organized on 12 Nov 2012. It successfully convinced the private sector and individuals to contribute RM711,742 to the Culture Trust Fund (Kumpulan Wang Amanah Kebudayaan). This fund can be used to subsidize the arts industry in accordance with the terms and conditions set forth. The application process for this fund will be open in due course and an announcement will be made by the government via JKKN. Arts for the Economy As we move from “Arts for arts” to “Arts for the society”, there is an even further enlargement of the role of the creative industry. As espoused in the National Creative Industry policy and the ETP, the objective is now “Arts for the Economy”. Towards this end, the art fraternity should gear up towards the upcoming Visit Malaysia Year 2014 to contribute towards reaching the target of 28 million international tourist arrivals and RM76 billion in terms of revenue generated.

Session 1: How Arts Changes Countries

Panellist 1: Ms Eunhee Kim, Assistant Manager, KAMS Connection Programme, Korea Arts Management Service (KAMS) There is a new outlook for arts and culture in Korea as the president presented the three main focuses of the government, i.e. cultural renaissance, creative economy, and happiness of the citizens. The government considers cultural as the primary means of securing national competitiveness and spreading values to society to create a new age of hope In the last 50 years Korea has enjoyed a high level of economic growth. The nation was a recipient of foreign aid after the world war, but is now the 12th largest economy in the world. However, in the OECD Better Life Index, Korea ranked 27th over 34 countries, and has the highest suicide rate. The government is focusing on a creating new paradigm centred on culture by embedding the value of culture in all aspects of society, thus helping citizen enjoy a cultured life and opening up a new age of happiness.

This shift is not only brought about by the government’s policy, but is also a demand from ground. The Korea Culture and Tourism Institute’s analysis listed the following ten key trends in Korean culture and arts:

§ Sympathy, Healing for Society § Symbiosis of community and arts § Demand for fair market § Artists welfare and cooperative union § New name for Korean Wave, K-Culture § Leisure culture and cultural welfare § Birth of new stars beyond boundaries § Cultural diversity, a key word for policy § Social Networking Services (SNS) culture § Noblesse oblige to Citizen oblige

The Korean Ministry of Culture, Sports, and Tourism (MCST) announced that among its primary tasks in 2013 is to support the creation and strengthening of social safety net for artist. The community is worried that such involvement from the government can threaten the diversity and autonomy of the industry.

Established in 1996, the Korean Arts Management Service (KAMS) is a non-profit organization under the MCST to enhance competitiveness of arts in Korea. The organization has three strategic goals in mind: to promote distribution of Korean arts, strengthening the capacity of arts professionals, and promoting arts information. KAMS organizes the Performing Arts Market every October in Seoul, which has helped Korean performing arts to expand its domestic and international network. Initially, the market’s objective is to facilitate the exchange of art products; but now, it also serves as a key networking avenue for local and international practitioners. This year will mark the 9th edition of the event and the theme is focused on Asia. KAMS support international touring of Korean performance arts through a funding programme called Center Stage Korea. This year, some traditional Korean performance art groups are supported to perform in Malaysia’s George Town Festival The global arts world faces vast challenges which include shifts in policy and economic downturn. KAMS serves as a platform for arts professionals to share these challenges with their peers, locally and internationally. In focusing to enhance competitiveness, KAMS believes that art will bring change to art themselves, and also to the society.

Panellist 2: Ms Collette Brennan, Director, Market Development, Australia Council for the Arts The Australia Council for the Arts is fully government-funded, but it maintains an arms-length relationship with the government. For example, funding decisions are made by artists themselves. Such approach removes politics from the structure, and allow representatives from the arts to be involved in the decision making process directly. The Council works collaboratively with artist to drive forward the arts agenda. It is an interesting time for the arts in Australia as a new cultural policy – Creative Australia – was launched in May 2013. This will require a five-year strategic plan and in developing this plan, the council is currently commissioning research on artistic trends, and broader social, cultural, international, economic and political trends; evaluating the impact of current programmes; and undertaking review of grant and decision making systems. This initiative stemmed for the growing need to reduce bureaucracy and to enable artists to create work and reach audiences in a more flexible and effective manner. In terms of budget, the council invested $164 million for the period 2011-12. This funding supports the Major Performing Arts organisations (around $98 million), key art organisations (around $25 million) and smaller art organisations and individual artists (around $40 million). Like Malaysia, Australia also practices a three tier system governmental system; therefore, artists can reach out to each level of government for funds. In terms of measuring impact and effectiveness, evaluation is embedded into many of the programs and initiatives run by the Council. It is a key part in the development of programs, projects and initiatives. All grantees have to contribute to the learning community by reporting on what they do. The council also commissions various researches. In addition traditional quantitative measures such as number of seats filled, the Council also evaluates the value and transformational impact of the arts. A research by the council entitled “More than Bums on Seats” has shown that: the arts are strong supported by the Australian population; attitudes towards the arts are increasingly positive; the internet is now a key tool, not just for marketing but as an engagement tool or art platform; a growing interest in indigenous arts, an significant opportunities to build art audiences. The other project of the Council is the “Art Facts” which helped produce statistical analysis on the arts sector; for example statistical analysis on the trends of public engagement in each different arts categories, and artists’ income. As for the creative workforce, 3.2 million Australians are involved in creative artistic work. However, there are only 44,100 practising professional artists on a full time basis, and just 20% earn creative incomes sufficient to meet their basic living costs.

The research has also shown that it is difficult for arts professionals to earn highly, despite being one of the highly educated groups in the Australian workforce. Artists adopt diverse career paths and face persistently difficult conditions. Australia is deeply interested in international works as the Australian audience’s appetite for international cultural product is growing. The country is exporting local works and wants to be part of the global arts community. It is important for countries to realize that this is a two way relationship: for local works to reach overseas, likewise, the country must bring in content from the outside.

Public funding for the arts has been stable since 2007. Visual arts continue attract the highest levels of funding, due to significant State Government funding for local art galleries and museums. The private sector support for the arts has grown by more than 50% since 2002. It now accounts for more than 10% of the income of arts organisations. There is continuing effort to engage the corporate sector on CSR and their role in sustaining the arts.

Projects that are excellent in quality, but did not receive funding because of limited amount of resources are classified as unfunded excellence, so as to develop further funding opportunities from other avenues. There is a need to go deeper than economic outcomes of the arts for the country. The success of the arts is also about the impact made from a qualitative perspective. How then can artistic performances be evaluated wholistically? One tool that the Council has developed is the Artistic Vibrancy framework. The framework includes a wide range of assessment criteria which can be used to assess the excellence of the artist’ work.

Panellist 3: Pn Ramlah Amir, Director, Arts and Culture Product Development Division, National Department for Culture and Arts (JKKN) In terms of performance arts, the relevant agencies under the Ministry of Tourism and Culture are: JKKN, Istana Budaya, and the National Arts Culture and Heritage Academy (ASWARA). ASWARA is the educational unit to develop new talents for the performing arts, while Istana Budaya focuses on the excellence of production. As such, JKKN shoulders huge responsibility for performing arts in Malaysia as it is in charge of not just promotional activities but also the preservation and conservation of performing arts. JKKN vision is to create a cultured Malaysian society based on the 1Malaysia notion – where everyone has equal access and no one is marginalized. In terms of mission, JKKN functions to spur efforts in preserving and conserving culture and arts; expand culture and arts through efforts in nurturing, guiding, and outreaching activities; develop cultural and arts product; and support the growth of tourism through culture and arts activities. JKKN has 770 staff who coordinated 2,668 activities in 2012. The budget allocated was RM18 million. In terms of infrastructure, JKKN has 11 complexes, 9 cultural centres, and 8 movable stages. For future development under the 10th Malaysia plan, the planned infrastructures are: JKKN Headquarters in Kuala Lumpur, JKKN Johor Complex, and a cultural Centre in Bau, Sarawak. Under the National Creative Industry Policy (DIKN), JKKN was given the task to develop “quick win” programmes for each sector of the creative industry. The programmes under the performing arts industry for 2012 – 2013 are divided into six broad categories: No. Action Plan Project 1. Content Development Arts Exchange

Traditional Theatre as Tourism Product

2. Talent Development Apprentice Programme Mentor-mentee programme The Borak Arts Series

3. Empowering Performing Arts Activities Reduce Production Cost Grant New Malaysian Works Grant Arts in the Community Grant Karnival Seni Kreatif Kita The Royal Arts Gala (RAG)

4. Establishing New Performance Spaces Busking Black Boxes

5. Internationalization of Performing Arts Product Overseas performances 6. Development and Marketing Networking The Arts Exchange programme last year involved collaboration between 10 international artists and 18 local artists. Together, they have produced 12 new local contents, some of which are presently touring Europe and will participate in the Edinburg Festival. Under the Talent Development programmes, 20 grants were disbursed to mentees to attach themselves with mentors. Under this mentoring programme, they will be able to learn a specific skill, for example on stage lighting and set up. On the other hand, the apprentice programme is targeted for secondary school leavers, where they can attach themselves to arts organizations.

JKKN has initiated discussions with KAMS and the Australian Council for Arts on plans to internationalize Malaysian performance arts. In October, JKKN hopes to send some performance arts group overseas to present their proposals. Under the Culture and Arts Creative Industry Grant, 25 districts throughout Malaysia were identified as part of the 1District 1Arts programme. Besides that, 8 grants were approved for research, development and performance. The Traditional Theatre as Tourism Product programme is a pioneer project where funds are allocated to traditional theatre teams to increase the effectiveness of their management. This is aimed at preserving the traditional performance art, making it sustainable, and branding it as a tourism product as there is a growing demand for it. Some grants are in the form of investment from MyCreative Ventures, which is a government investment arm to spur Malaysia’s creative industry via strategic and innovative funding in a form of equity or debt investments. As such, grantees may have to repay the loan. RM200 million was allocated under the 2012 budget to assist creative companies grow. Not all grants are assessed based on its monetary or economic returns. There are also those assessed in terms of new content generated and the empowerment impact to the recipients; for example, the arts exchange programme and mentor-mentee programme. The new programmes and action plans are developed together with the stakeholders of the industry via consultative labs. Furthermore, they are done under a tripartite cooperation system, involving the government, industry, and private sector; and JKKN facilitates this process. At present, Malaysia does not have consolidated data on that provides a bird’s eye view of the impact of the arts industry; there are only ad-hoc measurements, such as analysis of the workforce in the creative industry. This area required collaboration with all stakeholders and is an issue that JKKN hopes to undertake in the future. There is a concern that funding support is not sufficiently reaching to art practitioners, both in Klang Valley and the other smaller cities. This has caused many talented Malaysia artists to leave for better opportunities outside of Malaysia. Over the course of the Borak Arts programme, it is hoped that the stakeholders could have a fruitful discussion with the government and private sector to address this issue.

Session 2: How Arts Revitalises A City

Panellist 1: YBhg Dato’ Faridah Merican, Co-Founder and Executive Producer, The Actors Studio, Kuala Lumpur Performing Arts Centre (klpac) and Penang Performing Arts Centre (penangpac) Not many people were familiar with its location in Sentul when the Kuala Lumpur Performing Arts Centre (klpac) opened its doors in 2005. For many, Sentul was not a very desirable place as it was known for gangsterism. As such, klpac organized its first open day where everyone is welcomed. The event was free and a wide array of activities took place in the interior and exterior of the complex. It was well attended with thousands of people filling up the place. Many art and theatre performers, musicians, dancers, and others were generous in contributing their creative talent and services for free. This also gave rise to the opportunity for them to network amongst each other. Two years later, the 2nd edition of the open day took place and was met with similar success. Kuala Lumpur is a city with great potential to host developing arts festivals so that there is more exposure and buzz on the arts. The quality of content is important and has to be done well in order to attract audiences. There should be focus on Malaysian art to allow the opportunity to showcase to fellow Malaysians and international guests. However, acts from abroad should also be brought in for us to benchmark against international peers. The model that klpac used worked well and hence can be expanded in many other ways. It is a great opportunity for arts creators to work for large crowds and present their work. Yayasan Sime Darby has pledge RM1 million per year for the next three years to support klpac. They would also like to support a nationwide arts festival next year. Such support and boost is necessary in revitalizing the arts itself. The fraternity should not rely solely on the audience to take the initiative in finding out about arts events. The responsibility to grow and promote the arts environment lies with us. We need to get more friends, family members, peers, and communities involved. Students in the primary and secondary school are important target market, as they will help grow the audience base. The Actors Studio has previously collaborated with JKKN on a subsidy project, where tickets for school children are sold at a discounted price. This enabled more schools to send their students to performances, thus providing valuable exposure to the arts. The Ministry of Tourism and Culture must work closely with the Ministry of Education on such initiative, for the long term betterment of the arts. This approach has been brought to attention previously, but unfortunately was not concretely taken up. There is no doubt about how arts festival could revitalize a city. In fact, it is surprising to not that not many cities have gotten the desire to create an arts festival within their own domain.

Panellist 2: Ms Bilqis Hijjas, President and Head of the Creation and Presentation Network/ Director, MyDance Alliance / Rimbun Dahan MyDance Alliance is a non-profit organization that brings together a community of dance practitioners and enthusiasts to form a supportive network and promote dance in Malaysia. MyDance Alliance has just finished organizing a two week dance festival. The dance festival runs every two years and is executed entirely on voluntary basis. The partnerships with Kuala Lumpur City Hall (DBKL) and dpac allowed the organizers to charge a lower rate for tickets. There are many people who are interested and supportive of the arts, and the art scene itself is vibrant and energetic. However, promotional activities were often overlooked because of various reasons, such as limitations of capacity or budget. There should be more thought into this process, especially on how it could be streamlined, for example by leveraging on the local government machinery for promotion and advertisement, and making arts more visible in public spaces through banners, billboards, etc. The model adopted by new performing art centres such as Pubika, PJ Live Arts, and dpac, is a workable one, where the arts is brought to the public by incorporating them within a retail or residential district. This makes art more accessible to the public and would, in the long run, broaden the arts audience base. Such approach is necessary especially when the mass public does not have much exposure on the arts in the present environment, e.g. via the education system. The Georgetown Festival has shown how an arts festival can regenerate a city. It has made an invaluable difference to Georgetown and in people’s perception towards it as a centre for contemporary production and high quality international work. The Penang City Council is excited and supportive of the festival, not just in terms of funding but also in providing a supportive environment such as reducing bureaucratic barriers. There are instances where artists and partners, e.g. government agencies, may have different priorities in working together. The artists are interested in their art, while for the government agency, it could be on the number of tourist that it would attract. The Malaysian arts community has traditionally relied on self-funding for their projects, hence not subjecting themselves to rigid requirements of funders or sponsors. Such autonomy has its benefits, but on the other hand, external funding is necessary if an event is to be organized on a large scale.

Panellist 3: Ms Nani Kahar, Partner, labDNA labDNA is a design and architecture practice, and many of its recent projects are focused on designing public spaces. In designing public spaces, it is important to think in terms of its contribution to the liveability of the city, place or environment. Liveability is most essential to improving the identity of the place’s identity and values, making it attractive for inhabitants, visitors, talents, as well as businesses, developers and investors. A technique used in such process is called placemaking, which constructs and promotes differentiation. It creates and builds exceptional experience that is memorable and emotional by identifying what the space is about and what could it contributed for aspects such as social and community engagement.

labDNA believes that arts and culture adds value and can be part of the agenda for profitability. For example, the Guggenheim Museum in Bilbao, Spain, cost about EUR96 million to construct using public money. The issue of return on investment was raised because of this high cost. However, in just three years, the museum has attracted over 4 million visitors and the government has recovered its investment through increase in taxes from hotels, restaurants, and other related activities. Some cities in the world have been designated as creative cities by UNESCO. Part of the strategy in some projects is to ask the developer or government to seek for the creative city status. Although this may not be achieved, it is important for benchmarking against the criteria and set direction towards that achievement. In developing creative cities, the smallest component is building creative clusters. This involves creating multiple destinations within existing and new assets and connecting them to for continuity. Key locations for creative clusters should be identified and developed. These platforms for artistic and cultural activity will allow for a maximum level of experimentation and interaction between the cultural producers and their audiences. The clusters serve as a catalyst for the exchange and exploration of contemporary ideas, and encourage understanding, social interaction and creative collaboration between people of diverse social & cultural backgrounds. One previous project undertaken was with Central Market, where the developer requested for the the place and building to be improved as it was becoming undesirable. In that situation, arts and culture could assist in regenerating the space. In the project with Publika, there were a lot of empty spaces within the development and if left unattended, the space may be misused and lead to deterioration. To resolve this, Publika was developed into a place of arts, culture, and education. It hosts, among others, the MapKL gallery, the arts row, and a public stage. This is in line with Publika’s goal of bring the arts to the public. There were 294 activities organized in mapKL and over 200 more in Publika last year. The platform is accessible by the people, even those with very little resources. Community engagement is necessary to promote a more open and inclusive society and to contribute to the artistic and cultural enhancement of the public. Part of arts involves providing an open channel and democratic space for freedom of expression.

Session 3: Why Support The Arts? - A Corporate Perspective

Panellist 1: Pn Yatela Zainal Abidin, Chief Executive Officer, Yayasan Sime Darby Yayasan Sime Darby (YSD) is a foundation set up in 1982 and funded by the Sime Darby Group. It gets donation based on the profits made by the group in the preceding year. YSD initially started off with offering educational scholarship, but it has now expanded to other areas. At present, there are five key pillars.

One of these pillars is on Arts and Culture. YSD supports the development of the vibrant arts community in Malaysia’s multi-cultural society. This includes projects and activities in the visual arts, music, theatre, cinema and dance. It sponsors initiatives aimed at strengthening arts institutions and developing culture knowledge and resources. YSD also encourages contributions of artists to the richness of a cultural heritage and legacy that is uniquely Malaysian. To reach these objectives and raise the profiles of Malaysia artists, YSD works with other established organisations and experts. As a foundation, tax deductions are given for donations. A total sponsorship RM5.2 million has been disbursed under this category. Among others, YSD has supported key programmes such as: 1. Connecting Communities: National Dance Tour by the ASWARA Dance Academy – to raise

awareness Malaysia’s unique and traditional dances through public performances and workshops; 2. JB Arts Festival (2010 – 2012) – a month-long festival that showcases local and international acts

aimed to encourage youths to appreciate traditional and contemporary arts; 3. KK Jazz Festival (2012 – 2013) – an annual fund raising festival to bring together top local and

international jazz acts. Proceeds from the festival has helped the underprivileged communities in Kg. Teringai Laut and Sipitang, Sabah; and

4. KL Performing Arts Centre (klpac) - A 3 year commitment to help klpac to replace critical equipments to stage world-class performances, as well as subsidising its operational costs.

YSD observes a stringent set of guidelines and processes in evaluating grant proposals. Proposals would be considered if they aligned with YSD’s pillars and decisions are made by a council consisting of seven distinguished members who are passionate about the mission of YSD. The two overarching criteria which often determine the success of a proposal are: impact and governance system, which includes financial transparency. Larger scale programmes are preferable, as it has higher impact; but small scale productions that are important and stand out would still be considered. In return, YSD and the Sime Darby group receives benefit via increased in it visibility by being associated with supporting the arts. YSD does not interfere with the running of programmes it funds; instead, it plays a supportive role. For example, in the ASWARA programme, YSD facilitated the programme to perform in Indonesia, hence creating higher impact. YSD’s sponsorship goes towards covering the tangible costs such as: space rental; production equipments; travelling expenses for performers and troupe; set construction and materials; and costumes. YSD however does not cover intangible costs such as: actors’ performance fees, salaries, marketing and promotional activities, food and beverages, and purchase of show tickets via corporate packages. Other costs may be considered depending on programme objective and criticality. Information on grants and application processes can be found at www.yayasansimedarby.com

Panellist 2: Mr Pun Kai Loon, Artistic Director, Dama Orchestra The Dama Orchestra group has been in operations for over twenty years in the performance arts line. However, it still faces challenges in seeking production sponsorship despite meeting the requirements and having the credentials. The arts can serve as conduit that can facilitates the connection between the financial and non-financial returns of a corporation. In the earlier days, the integration of arts with the corporate sector is in the form of investments. Investment corporations or venture capitalists receive proposals from performance arts production and they are evaluated accordingly. Often, the return on investment (ROI) is within 10% -15%, which is below what investors are looking for. In present times, the return on investment is still achievable and in this aspect, more investors are likely to come forward in financing more arts production. The corporate sponsorship issue faced by Dama Orchestra is multifaceted and it is difficult to determine the extent in which the arts is part of the corporate sector’s ROI analysis. Such an issue is systemic in nature. For example, in seeking sponsorship from corporations, Dama Orchestra packages the proposal in terms of returns that the corporation would receive for their sponsorship, for example advertisements, brand exposure, and exclusive corporate performances. Such approach would result in the corporations receiving a positive return in terms of financial value, but yet many corporations are still not very keen on sponsoring the arts. In some cases, sponsorship for the arts simply does not fit with the strategic direction or priority areas of the corporations. One model which worked well for Dama Orchestra is via event hosting, which provides an economical way for Dama Orchestra and corporations to cooperate. In essence, this approach is similar to ticket purchasing, where tickets are purchased in bulk with discounts. Not all companies support the arts. In this aspect, there is more convincing and education that needs to be done. It must be highlighted that arts should be treated as an integral part of our nation’s culture and lifestyle. The struggle for practitioners is to get this message across to the corporate sector. On the other hand, corporations would not be supportive of the arts if the public is not interested in it. As such, both situations are interrelated and needs to be developed concurrently. There must be synergy between the: government by providing clear direction and policies; private sector by increasing commitment and support to the arts; and practitioners by finding a common ground that would be in the interest of all parties.

Panellist 3: Mr Azrani Rustam, Director of Corporate Affairs and Communications, JT International Berhad (JTI Malaysia) JT International Berhad (JTI) is a public listed company in Malaysia and is part of the Japan Tobacco Group’s international tobacco business which is the third largest tobacco company in the world. Due to nature of the companies’ trade, there is inherently sensitivity in terms of its involvement in funding non-profit activities. Nevertheless, JTI is supportive of the arts because the company believes that it fits with the values and mission of the company. Art is a vehicle for thought and expression that drives diversity and challenges us to consider other points of view. JTI approach in supporting the arts is not via a CSR, but rather via a corporate philanthropy programme. Corporate philanthropy is the choice to contribute to the societies in which the company does business, in a way that is meaningful, voluntary, and outside of commercial operations. This means that the corporation does not ask for anything in return, for example advertising. JTI focuses on supporting institutions that promote: National and Global cultural heritage; Contemporary art; and Japanese culture. In Malaysia, it has successful partnered with the Kuala Lumpur Performing Arts Centre (klpac) and The Actors Studio in enabling these organisations to develop and showcase more productions and nurture talents. In selecting partners to work with, JTI undertakes a vigorous process. The programs evaluated must deliver meaningful and measurable benefit to society and are align with its priority areas. Project management must conform to defined global standards and in line with JTI’s legal, operation, reputational, and political stand points. Partnering organization should have a proven track record, financial transparency and good governance system. The track record of the applicant is an important criterion in making sponsorship decisions because it is related to the risk that the corporation would be taking. The corporation is also accountable for the decisions that it make. JTI has successfully been involved in the arts and are looking forward for partnerships that are mutually beneficial. The group is committed to making a real, measurable difference by engaging in projects that will deliver positive results to the society.

Session 4: Cultural Exchange - Case Studies

Panellist 1: Mr Phillip Gleeson, Creative Director, Strange Fruit, Australia Strange Fruit is an outdoor performance company based in Melbourne. Started in 1994, it presently has an ensemble of 25 performers and 5 – 10 contract-based crew members. Strange Fruit’s origin is rooted in street theatre as it came from a street theatre collective called Primary Source. The group has performed in over 500 international festivals over 50 countries, and shows are usually free to the public. The themes of performances changes over time, but there is always constant engagement of the audiences in a public arena. This approach has given rise to many profound experiences for both performers and audiences. Most of Strange Fruit’s income, about 80%, is generated through revenues from international touring. Being part of the arts industry, the company has to diversify its income stream to continue being sustainable. As with many, Strange Fruit has undergone various financial crises. The company was originally a non-profit organization, but is now a profit-based organization as part of a production house. This switch has resulted in better financial stability and increased accountability to audience’s expectations. The creative process should not be separated from income generation. For example, Strange Fruit had a five month engagement in Marina Bay Sands, Singapore, which is an corporate-centric, indoor hotel and mall setting. The opportunity was taken and the team worked to their best. In additional, the group has also recently focused on adaptations and site specific creations to help access additional revenue streams. This would also help in seeking out additional input into creative content of the company. For old productions like “The Field” which was produced 18 years ago as the first production of the company, international collaboration reinvigorates the performance and allows it to continue growing and developing. The shift in focus has led to the moving into new territories, which includes international collaboration. In 2011, Strange Fruit collaborated with Noreum Machi, a traditional-future fusion music group, from Korea on an arts exchange programme. Noreum Machi had a unique quality and had a shamanistic feel to its work, which Strange Fruit felt there was a natural fit. Korea was chosen as a partner because Strange Fruit has had experiences performing in Korea and was well received by the Korean audiences.

Panellist 2: Dr Joseph Gonzales, Dean, Faculty of Dance, ASWARA Dr. Joseph Gonzales’ first experience in cultural exchange started in 1985 when he was in Korea for an international dance festival. There, he realized that the standard of dances were of high quality and far ahead of Malaysia. There were also thousands of people graduating from dance universities yearly. Involvement in such cultural exchanges among countries often requires investment of personal money as it receives little support from government agencies or institutions. But now, funds are beginning to be channelled to organizations such as MYPAA, Kakiseni, My Dance Alliance, and Theatre Management Associates to organize international collaboration projects. While the government are not managing these projects directly, their support and strategic partnerships make them possible. The Art Major Asian Scholarship Programme by the Korea National University is an international scholarship given to twenty Asians to study arts in Korea. Many of ASWARA’s students have undergone this programme and gained success; one even became the first non-Korean who was selected to be part of the Korean National Contemporary Dance Company. In preparing for such international exchanges and collaborations, ASWARA had to ensure that its syllabus is relevant. It provides a point of differentiation by focusing on traditional Malaysian arts, which would enable Malaysians to market themselves and be on par with international peers. In 2011, an Asian Dance Committee was established which involves the collaboration of 16 countries. The committee aims to preserve and cultivate dance resources in Asia and to foster cultural exchanges among Asian dancers and choreographers. It would launch an Asian dance programme when the Asian Culture Complex in Gwangju, Korea is ready in the future. Such platform provides a good opportunity for Malaysia to share its distinct performance arts. It is difficult for an artist or performance group to tour locally or internationally if they are not well-known of has a large fan base, even if the quality of performance is excellent. Support from the government and corporate sector is therefore important in making this possible. Malaysia does have high quality and interesting art to share with the world. International collaborations and exchanges are necessary to enhance Malaysia art work, and they also open up a whole host of other artistic possibilities.

Panellist 3: Ms Mio Yachita, Assistant Director / Head of Cultural Affairs Department, The Japan Foundation Kuala Lumpur The Japan Foundation Kuala Lumpur office was set up in 1989 and part of its purpose is to conduct: arts and culture exchange; Japanese-language education overseas; and Japanese studies and intellectual exchanges. In Malaysia, the Japan Foundation has facilitated various Japanese performance arts into Malaysia, such as: • Mansai Nomura Kyogen Performance in December 2012 - a form of traditional Japanese comic

theatre with over 600 years of history. Its flexibility as a “trunk troupe” allows the group to travel and perform extensively around Japan and internationally.

• Bunraku Traditional Japanese Puppet in June 2013 – a puppet version of Kabuki which will be featured for the first time in Southeast Asia.

• Isso Yukihiro Traditional Noh Flute in October 2012 – a contemporary version was performed in Malaysia, and there was also performances in a school in Penang and collaboration with Malaysian young artists.

• Yamato Drummers of Japan in February 2013 – a business-based touring venture but with the support of Japan Foundation, performances were held at Kota Bharu for free.

The traditional arts performers are able to tour successfully because of the huge demand around Japan. They are seen as the carrier of traditional arts and culture. There are also many small local theatres around Japan, where local shows are very popular amongst all section of society. The contemporary artists are also successful, especially in the last ten to fifteen years. They are extremely popular in city areas and tickets are often sold out very quickly. The availability of an audience base enables the performers to be sustainable, even without funds from the government.

Performing artists travel internationally for various reasons. For emerging artists, it is to boost their career and create more recognition. The established groups travel to strengthen their artistic value and create financial sustainability, while traditional performers want reach out to wider audiences and introduce traditional artwork outside of original context In the past, the Japan Foundations used to take on production and management role to create cultural and arts exchanges. The model is now different as international collaborations are happening organically between artists themselves, especially with the help of technology and the internet. Therefore the role of the Japan Foundation has shifted to a more support-based role, i.e. as the intermediary facilitating such exchanges. The Japan Foundation offers small grants for cultural programmes: • Small Grant for Malaysia, Singapore and Brunei (KL) – for Japan-related intellectual exchange

projects in the field of social sciences/humanities and arts/cultural projects; and • International Grant (Head Office in Tokyo – for Dispatching Artists and Cultural Specialists More information on collaboration opportunities are available at: www.jfkl.org.my

Session 5: Content Monetisation – How It’s Done

Panellist 1: Mr Hans Isaac, Managing Director and Creative Director, Tall Order Productions Sdn. Bhd. Tall Order Productions was founded 12 years ago and like many other production company, it faced difficulty in obtaining finances for its productions. The first production the company did was the Malaysian Comedy Week, which took place in Actors Studio Bangsar. It featured six comedians and was successful in generating profits, which is then reinvested into the next production. 12 years on, the company has now invested about RM45 million worth of content and production. It produces tree productions per year, and in the current year the productions are: Cuci the Musical, Lat the Musical, and Super Mokh. The company purchases rights over these contents because it believes in the potential of local Malaysian content. This is despite the fact that local productions have higher risk factor, and are usually valued lesser in comparison with international productions, e.g. the pricing of tickets. Malaysian production companies do not have a big budget to work with. Unlike their counterparts in other countries who have budgets which are big enough to invest in experimental works that may not be commercially viable, local companies have no choice but to ensure that their resources are spent on productions that would be profitable. The limitation of resources also inevitable affects the quality of content and execution as this would affect matters like equipment used, shooting timeframe, and post-production works. Part of the company’s strategize in monetizing content is by featuring a famous star in the production, as this would result in larger access to the audience market. Production companies cannot rely solely on theatre performances to monetize the content. Depending on the suitability of the content, the content could also be monetized in other formats, such as film, TV broadcasting, and DVD. For example, Cuci started off as a featured film, which then moved on as a TV series for two seasons, and thereafter as a musical theatre production. As such, the lifespan of the content is lengthened, and the company could monetize it on one platform to another. It may be necessary to compromise on creative ideas in order to get access to the other platforms. For example the TV industry may prioritize content which could attract more viewers and suit their demographics, instead of the messaging or artistic value of the content. Advertising needs are also a priority. Such decision is a personal choice, but to have full control over the creative content means that the source of funds would have to come from the producer’s own pockets. From a practical point of view, income generated from the commercial work could be used to fund other artistic work that the person is passionate about. The process would also be beneficial as it opens up new ideas and experiences. In terms of funding, investors often prioritize the numbers, i.e. the financial returns. However, there are some backers are fuelled with passion for the arts and would be contented by breaking-even or making a small loss. There are many parties out there who are supportive of the arts; and as practitioners, we may need occasionally to adjust to fit into the corporate thinking.

Social media platforms such as Youtube could be disadvantageous for performing arts as it weakens copyright protection to the content. However, it could also work advantageously for producers. For example, the company release the first edition of Lawak Keder stand-up comedy on Youtube, as part of its strategy to reach out to a larger audience. It has now become a well-established brand which is produced annually as a show.

Panellist 2: Mr Samuel Seow, Managing Director, Samuel Seow Law Corporation Samuel Seow Law Corporation is a specialist in entertainment and media for Intellectual Property laws. It is based in Singapore and has represented various artists and projects in the industry. In many of the projects, the firm involved from the conceptualization stage in order to protect the intellectual property. The firm started eight years ago and at the beginning, it was providing pro-bon services to theatre companies. In return, the firm would be credited in the advertising collaterals. This was done to build and strengthen the ecosystem for the benefit of all stakeholders. Copyright is a right to prevent the copying of works or other subject matter. However, copyright doesn’t protect ideas. For example, the stories of Romeo and Juliet and West Side Story have similar themes, but both take a different form. What copyright protects is the form of the ideas, i.e. the tangible form in which a person has chosen to express his ideas such as a book, musical composition, theatre or film script, or a cinematograph film. The person who reduces the idea to the material form has copyright over it, not the conceiver of the idea. A copyright arises when there is originality, material form, and a separate existence from function. It arises automatically without the need for a registration processes. The owners of copyright in musical works, dramatic works and literary works have the exclusive rights, in relation to their works. Names and titles are not protectable under copyright, but they can be registered as a trade mark. Trade marks protects the brands, words or logos, etc used by traders in relation to their goods or services so as to indicate the origin or trade connection of those goods or services. To be registered, a mark must be capable of being described clearly in some form of notation, and must be capable of identifying the good or service as coming from a specific source. The protection of intellectual property is important and necessary in order to monetize the content.

Panellist 3: YBhg Datin Sofia Jane Dato’ Azman, Actor Without commercial support, it is difficult to perpetuate the further growth of the arts industry. The visual arts industry for example, is fast growing. Many artists have had successful sold out exhibitions. The artists are able to monetize their artwork effectively as the prices are fast rising. With a strong financial base, artists can then focus on creating better artwork. However, the same could not be said for the film industry. The government and other institutions have been supportive in promoting the industry, but this has made the industry reliant on the constant need for financial aid. Monetization of the arts is a necessary evil and it is a reality that must be accepted. The industry can only function if there are people participating in our industry; and this means that there must be enough finances to support the livelihood artists, crew members, and other practitioners. For example, independent theatre producers have been successful in being sustainable by monetizing their work effectively. Even though they do not have a big reputation or access to substantial funding, they were able to develop production that fits their target audiences, e.g. university students. Performance slots were book at Dewan Bahasa dan Pustaka during school holidays to enable the students to attend; and the productions were sold out and generated profits. The quandary of the film industry is such that productions which do not generate enough profits are unable to support the people who produced and perform it, but yet without adequate investment in proper talent, the production would not be done well enough to generate profits. The film industry also suffers from various other issues such as inadequate formal arts education and training, feedback and criticism systems, and low wages. Nevertheless, creativity and monetization are not mutually exclusive; they can exist together and are complementary to each other. The industry and practitioners need to adapt and change to remain sustainable. We need to be more assertive of our talent, and reassess our shortcomings and change attitudes in order to improve.

Session 6: The New World of Arts

Panellist 1: Mr Adrian Yap, Founder, Urbanscapes Urbanscapes is a creative arts festival, featuring the best talent in music, art, design, photography and more. In organizing Urbanscapes, the organizer plays the role of bridging the creative talents and financial aspects of the event. In addition to the creatives of the programme, there is a need to also focus on the business management aspects of things, for example the skill and experience in approaching potential sponsors and business collaborators. The event needs to be able to sell itself to raise awareness and support for the arts. Many productions and projects did not happen because the sponsors declined support. We need to be more resilient and go beyond straight forward funding. Especially with the internet, there are now more opportunities to market ourselves. The inherent business fundamentals need to be grown. In the beginning the festival was funded via private sector sponsorship – about 95%. Realizing that such approach would be unsustainable in the long run, Urbanscapes concentrated on nurturing and building the audience and following so that they would continue to engage with the festival annually. Revenue from ticketing now constitutes 35% of the festival’s funding. It would be difficult for one person to handle the two different ends, i.e. the business and creative aspects. With more resources invested into the arts industry, more business professionals would be interested to be part of it as people could see that there is a potential for a career in the industry. In developing the audience, Urbanscapes’ strategy is to work with as many people as possible to curate different experiences within the festival. This gives a sense of ownership to more people as they are active participants rather than passive viewers. The line between audience and participant is blurred as people have a say on how the festival would turn out.

Panellist 2: Mr Azizul Latif, Creative Business Consultant, Urban Village There is a growing number of independent, creative entrepreneurs who are putting their talents into businesses such as food, music, fashion, publishing, graffiti arts, comics, etc. Urban Village was a collective set up to create a support system for creative entrepreneurs. It received a grant in May 2011 from the government and set up a centre in Bangsar which functioned as a platform for the entrepreneurs to market their products and organize events. Unfortunately, it had to shut down recently as it was unsustainable financially. The key challenge facing creative entrepreneurs is the lack of funding and investment as they are not seen as something of high value. The industry is given less support in comparison with small-medium enterprises (SME) and Industri Kecil dan Sederhana (IKS). There is also inadequate coverage and publicity on creative entrepreneurs in the media. Most of the independent entrepreneurs are struggling to have access to a larger market. For this to happen, more people need to be aware of local creative products and their value. Creative and independent entrepreneurship is a culture where the creative talents express themselves and transform ideas into products. Urban Village is invited to a pre-budget meeting by the Ministry of Finance, which would be chaired by the Prime Minister. The group will propose to implement a support programme to support start-up brands. The creative entrepreneurship community is interested in collaborating with other practitioners in the industry to create a single art community. This way, we could cross promote our creative content to different audiences.

Panellist 3: Mr Muzaffar Mustapa, Assistant Vice President Editor Digital, Astro Awani One of the issues facing the arts industry is the lack of audiences. For the arts industry to prosper, it needs to build a sizeable audience who would be supportive. The industry is territorial, in the sense that sub-sectors – TV, film, music, theatre, arts, etc – are promoting their own content, but very little on the other art fields. Cross-field promotion is needed in order to open up and expand the market. The popularity of one brand could be used to support the other so that more people can experience art as a whole. The TV sector for example, has a large audience which could be used to support the other art sectors. A collective support system needs to be built. Social media technology evolves quickly over time, for example from blogs to Facebook, Twitter, and other online portals. If we have a huge following on social media, we need to actively think of ways to engage and get the followers to support the arts. Hard selling methods are necessary, but what would be more effective is community engagement so that the followers could understand the importance of arts.

Special Sessions

The Korean Wave – Beyond Boundaries Jung Jae-wal, President of the Korea Arts Management Service In 2012, the world witnessed something truly remarkable in the form of Psy’s song “Gangnam Style” which became a worldwide sensation. When the music video for “Gangnam Style” went viral on social media, it became hugely popular around the world. Along the way, it was viewed more than one and half billion times on YouTube, and 20,000 people in Paris, France, and 30,000 in Rome, Italy, took part in flash mobs to perform the song. This also led to Chinese artist and dissident Ai Weiwei making a parody video of “Gangnam Style” to advocate freedom of expression, and thereafter British artist Anish Kapoor made a video of his own to support the Chinese artist. It was amazing that the eyes of the entire world could be drawn to a single, small country in Asia. Defining the Korean Wave The “Korean Wave” refers to the various kinds of Korean popular culture, including drama and movies, which have made it big overseas and become popular with non-Korean consumers. In 2010, CNN even described Korea as the “Hollywood of Asia”. Of course, the phenomenon of the Korean Wave did not just come into existence all of a sudden. The Twists and Turns of the Korean Wave When analyzed, the Korean Wave can be generally divided into three periods: Korean Wave 1.0 – which centered on Korean dramas Korean Wave 2.0 – when K-pop was the focus Korean Wave 3.0 – which is the age of K-culture. This period includes not only the kind of media we have already mentioned, but also traditional culture and the arts. Korean Wave 1.0 The Korean Wave came into being in the 1990s. There had not been much cultural exchange between Korea and China in the late 20th century prior to 1997, except when the Korean drama “What Is Love” was broadcast on China Central Television in China. But after that, Korean dramas and Korean music started getting popular there, and the viewing public reacted positively to other dramas that were broadcasted. In 1999, a newspaper called the Beijing Youth Daily used the term “Korean Wave” to describe the trend of Chinese young people being captivated by Korean music and dramas. This was the first time that non-Koreans identified the Korean Wave as a meaningful social phenomenon. Thereafter, dramas such as Winter Sonata and Dae Jang Geum were huge hits in Japan and Hong Kong. In Japan, Bae Yong-joon, the main actor in the drama Winter Sonata, became a celebrity overnight, while the final episode of Dae Jang Geum broke the record for the highest viewer rating in Hong Kong with 47% when it was broadcast on Hong Kong TVB. This period of time—when the Korean Wave was finding a foothold first in China and later in Japan—is referred to as Korean Wave 1.0. It focused on Korean dramas, and the main area where the Korean Wave had an impact was Asia.

Korean Wave 2.0 From the middle of the 2000s to the first half of 2010, the Korean Wave started to take a different shape. By this point, Korean idol singers had made the jump from Asia to the global stage. For example, a K-pop concert that was held at Le Zénith de Paris performance hall in France in 2011 sold out in only 15 minutes, and young people all over Europe became passionate about Korean music. While the Korean Wave had initially been centered on dramas, that focus had now shifted to K-pop, and it expanded beyond Asia and across the world. The factor that made this K-pop craze possible was the widespread use of YouTube and social media services. Awareness of K-pop spread quickly through social media networks such as Facebook and Twitter. The main media genre during the Korean Wave 2.0 was K-pop; but dramas, movies, games, and other kinds of media also continued to be sent overseas. For example, the novel “Please Look After Mom” by Kyung-sook Shin reached the top of the bestseller list in the US in 2011. Korean Wave 2.0 was a time when Korean popular culture expanded beyond Asia and into the larger world, and when it also appeared in the areas of culture and the arts. In the middle of all these, Koreans began their self-reflection in relation to the Korean Wave phenomenon. Korean Wave 3.0: K-Culture After the transition from drama to K-pop, there are signs of movement away from K-pop toward culture and the arts, and further expansion into Korean culture in general. The period that Korea is undergoing today is the Korean Wave 3.0 which refers to K-culture. It has three central aspects: traditional culture, culture and the arts, and popular culture. This is not a temporary media fad. The Korean government has rolled up its sleeves and is taking action so that the entire world can identify with K-culture, which is the integration of traditional culture, culture and the arts, and cultural products. The Korean Wave Goes Beyond Culture The Korean Wave is an intangible asset that is playing a part in making Korean culture more competitive on a global level. One example is via the increase in exports in the content industry and the manufacturing industry. The Korean Wave has spread to 235 countries in the world. This is more than the number of countries that Korea has established diplomatic relations with. The average rate of growth of exports of cultural content over the past five years has been 22.5%. This is considerably higher than the 7.1% rate of increase of overall Korean exports over the same period. The increase in the export of cultural content is the direct economic effect brought on by the Korean Wave, while its indirect effects include an improvement of the national brand and an increase in preference overseas for Korean companies and products. The Korean cosmetics industry recorded a trade surplus for the first time in 2012, while the number of foreign tourists who visited Korea in 2012 surpassed 10 million, which was another first for the country.

In November 2012, when 3,600 people in nine different countries responded to a questionnaire about Korea, their first association with the word Korea was “Korean food.” This year, around 59,000 people in 41 different countries took the Test of Proficiency in Korean. Will the Korean Wave Continue? People have been asking whether the Korean Wave will continue since way back in the Korean Wave 1.0 period. In the same questionnaire from November 2012, 66% of respondents said they expected the Korean Wave to last for four more years. The reasons they gave included the fact that the products are becoming too standardized and too commercialized. Even as the Korean Wave spreads throughout the world, there are some who are worried that it will lose strength. At this time, many experts are calling for the strengthening of bilateral cultural exchange and arguing that even more attention must be paid to traditional culture, which is the source of the Korean Wave. The Korean government is working to ensure the Korean Wave resonates strongly with the rest of the world. It is not trying to be a director leading the Wave, but rather a coordinator connecting various groups involved with the Korean Wave. The Korean Wave is not something that is complete or static, but rather an ever-changing process. As traditional culture is used to augment Korea’s unique characteristics and as communication and exchange with other cultures continue to take place, there certain to be more changes and developments in store for the Korean Wave.

Investing In The Creative Industry Johan Ishak, CEO MyCreative Ventures In the 2012 national budget, the Prime Minister announced that the government will allocate RM200 million to set up MyCreative Ventures. MyCreative will function as an investment arm of the government which aims to “support the creative industry for a sustainable future that is rewarding.” This is a concept that intertwines social, culture, and economic relevance. There are numerous government investment arms, but they are different in terms of scope and areas. MyCreative focuses on developing and growing businesses in the creative industry – to assist them in transforming from a low income generating business into a sizeable one. A study by PEMANDU found that the creative industry only contributed 1.27% of the nation’s GDP in 2008 and 1.34% in 2011. Even with the present initiatives, it will only grow to 2.2% by 2020. This is extremely low in comparison with other countries and does not correspond to the cultural richness in potential that Malaysia has. Traditionally, creative businesses are funded with personal investment or grants. Banks seldom provide financing because most creative businesses entail a high risk. Even if financing is approved by the bank, it comes with a high cost of interest. MyCreative does not give out grants but it invests in the industry via equity investment and loan/debt financing. The objective is to move away from subsidies and grants to encourage more entrepreneurship. This is also a response to the inadequate number of investors in creative industries, especially for small groups; MyCreative seeks to fulfil this role in the arts ecosystem.

MyCreative invests in various industries based on the National Creative Industry Framework: visual arts, performing arts, music, literature, content creation, fashion and design, and traditional and cultural arts. To receive financing from MyCreative programme, an applicant must be a company incorporated in Malaysia and that is owned (at least 50%) by Malaysians, with a minimum startup capital of RM20,000. Project-based funding is not accepted as it does not encourage further thinking on sustainability and entrepreneurship. The RM20,000 startup capital requirement may be an obstacle for some, especially young and new groups who lack capital but have good ideas. This criterion is set to ensure that there is a level of personal commitment from the applicants. One possible way to meet this requirement is by consolidating funds between individuals and form a group. Nevertheless, the threshold could be discussed and adjusted accordingly based on the unique circumstances of each application. Companies that receive loans from MyCreative are given a gestation period to repay the loans, i.e. the repayment period and terms are discussed and mutually agreed between both parties based on the business needs, plan, and finances. This flexibility allows the business to develop without high financial pressures. In finance, the cost of capital is associated with the risk taken by the provider in fund the recipient’s venture. Because it is part of a government initiative, MyCreative takes a high risk in investing in creative businesses but it charges a lower interest rate in comparison with what would be charged for the amount of risk taken. On case by case basis depending on the risk assessment of the business (such as credit rating, collateral, and cash flows), Interest can be higher or lower than Base Lending Rate (BLR) by Bank Negara, that is at 6.6% currently. So it may range between 5% to 8%. Since its launch in September 2012, MyCreative has received over 100 applications, who had to present their business ideas and submit other follow up information. At present, approximately ten proposals have been approved by the board. Interested applicants can submit their details and proposal at www.mycreative.com.my Financial funding is one of the many aspects in the ecosystem which is needed to grow and develop the arts; other areas such as audience development, entrepreneurship education, and marketing are also very important. MyCreative focuses on the financing aspect, but works in collaboration with other government agencies and stakeholders in addressing these collective issues. Malaysia has undergone a development stage from a young nation which gained independence in 1957 and now moving towards a developed nation status by 2020. In a developed country, culture and arts are important components. The arts continue to grow and develop in Malaysia; and it is now the time and opportunity for stakeholders to merge and showcase themselves to the world.

Can The Arts be Sustainable? - A Discussion With The Industry Moderated by Prof. Dr Mohd Anis Md Nor, Professor of Ethnochoreology and Ethnomusicology, Culture Centre University of Malaya Panellist 1: Dr Fadhlullah Suhaimi Abdul Malik, Director, NKEA Communication & Infrastructure (CCI) Agriculture and NKRA Rural Development, Performance Management & Delivery Unit (PEMANDU) There are many facets to creative contents – films performance art, music, visual arts, etc. Each facet has a different need and ideally should have a different set of policy. However, the industry only has an overarching macro policy covering it as a whole. For example, they all fall under the gambit of Ministry of Tourism and Culture. The question is if creative content is an economic product or is it a cultural heritage? Regardless, at present, the government provides grants for both commercial and heritage preservation purposes. The government would need to review its perspective on the creative industry – is it a public or market good? The creative industry finds great difficulty in obtaining financing mainly because it is deemed to be of high risk. In this context, government agencies need to obtain feedback from the industry to solve this, e.g. should the arts be packaged as a tourism product? Under the National Creative Industry policy, the government has allocated RM200 million under the 2012 budget, much of which were allocated to the various sectors. Many have benefitted from the allocation, but for sustainability purposes, the industry needs to generate its own returns. The issue also links to the governance of the country’s resources available. As Malaysia has a low tax base and rate, there would be limited funds for development and the government’s role includes determining developmental priorities, for e.g. rural development.

Panellist 2: YM Tunku Alizakri Alias, Executive Producer, PAN Producer Many parties are grappling with the purpose of funding the arts. From a corporate perspective it is about dollars and cents, i.e. whether the sponsorship would bring returns in terms of brand value. However, as a government, such should not be the sort of economic argument to make. For example, the National Arts Council of England was set up in 1940s with a simple purpose of making life better for society. Even in economic terms, cultural and heritage and is an important part of successful cities as it allows people to have better appreciation of life. Once the government understands the purpose of arts correctly, then good structures could be put in place. In terms of funding, the amount available is irrelevant at present because it is highly inaccessible. There is no adequate information, infrastructure, and mechanism which are necessary for people to access it. Statistically the UK still put forth sizeable allocations for the arts despite budget cuts. The UK spends RM60 per capita on the arts, while Singapore spends RM21 per capita. Malaysia needs to analyse how much is invested on a per capita basis on the arts, culture, and heritage A key factor for public sector organizations to be successful is credibility. In order to work effectively with all stakeholders, agencies relating to the arts need to be steered by people who understands and is part of the industry. Secondly, there must be a consolidated and clear vision and courage to push it through. The performance arts must be seen as a viable profession. For this to happen, it needs to be run as a business, which includes various aspects such as marketing and branding. Other schemes like social protection and minimum wage card should also be explored in order to protect practitioners.

Panellist 3: Dr Joseph Gonzales, Dean, Faculty of Dance, ASWARA The ASWARA Dance Company (ADC) was formed in 1994 as a collective of lecturers and outstanding students affiliated to the National Arts Culture and Heritage Academy (ASWARA). The students at ASWARA receive excellent training from the academy at a very little cost, but there are not much good avenues for continuity after their studies. ADC was set up to provide an avenue for the best graduates to have professional exposure and continue practicing, and to showcase their talents. However, it was not easy to obtain financial support for the idea. Learning from the experiences of other performing arts production, we started convincing people via stories of the successful graduates and their talents. Without providing an opportunity, these talents would go abroad, resulting in severe a talent drain. In 2011, ADC received funds from the Sime Darby Foundation that has enabled ADC to be established as a full-time professional. The company has embarked on a nationwide tour with the project “Connecting Communities” which teaches traditional dances to local communities. Despite this, the sustainability of the organization is still not secured as the funding would eventually end. The high quality choreography and artistic output coming from Malaysia is aplenty, but government funds are not being used to market it adequately. There is a need for a fund to send our talents overseas when they are invited to perform abroad. ADC is also an important in preserving traditional art as it allowed many of the traditional dances to be taught and continued. Through its effort, it has revived many of the traditional performance arts such as Tarik Inai, Mengadap Rebab, and Joget Gamelan.

Panellist 4: Ms Jo Kukathas, Artistic Director, The Instant Café Theatre Company Not all artists have the ways and means to achieve big success in the arts. There needs to be systems and institutions to support the stakeholders. One of the problems is the lack of memory on the institution and history of the arts in Malaysia. We wouldn’t call a performing arts tradition with a 500 year history an infant. Various agencies, sponsors, or new practitioners are coming up but they do not understand the complex and rich history of the arts. A common understanding on the matter is necessary to enable effective collaboration and move forward. What is in the infancy is the grants programme from the government for the arts, such as the initiatives led by Kakiseni in 2013 and those disbursed by JKKN. There should be more spaces for practitioners to participate and contribute in strengthening the process. It is myth that the performing arts have received grants over the years. There could be allocation to arts, culture, and heritage, but grassroots practitioners in the performing arts receive very little. For example, in 24 years of its existence, Instant Café Theatre Company (ITC) received only RM40,000 from the government. Yet the government wants artists to contribute to the economy. But where is the real investment coming from? It is hard to assess the economic returns of the arts when there is not much invested in the first place. ITC is able to sustain itself because of the support from audiences who bought tickets and donated. It was able to perform satire at various corporate functions to fund itself, but such option may not be available to everyone. Even though the corporate performances is highly profitable, there are other forms of art that ITC want to undertake. ITC was fortunate to be able to collaborate with the Japan Foundation to produce a play titled The Island in Between. The experience enriched the artists from both countries and it was possible because the government understood that to fund the arts is to fund the nations’ history, identity, and hope. The funds received from ITC for Firstworks project has enabled it to produce meaningful, quality productions – such as Air Con, Hero, Silence Please, and Parah – which contributed to the social change agenda, for example on issues of race relations. Development of good art works takes time, effort, and an enabling environment. We cannot expect instant returns for such work. The arts in not an industry because it is not a commercial being. Art practitioners such as writers should be allowed to concentrate on their craft, with the financial support of the society. Likewise, many people who arts studied abroad had returned with great skills and there should be opportunities and support for them to do their work. It is inaccurate to say that local art performers do not how to run their businesses; they have been managing and doing it well. The approach should not framed as us needing help or to be told on how to run businesses, but rather we to develop better understanding of the systems available and be part of the conversation.

The Performing Arts Town Hall Moderated by Ms Liz Tajuddin, General Manager, Malaysia Truly Asia Attraction Themed Attractions Malaysia The Performing Arts Town Hall is a free session for creative practitioners & industry leaders to come together to identify gaps in the industry and look into addressing the needs of the performing arts community in a short to medium term timeline. Summary of key suggestions:

1. Document, compile, and summarize all the presentations during the Borak Arts Series;

2. Centralize information for funding and grants;

3. Run training on funding processes (e.g. business plan development and proposals);

4. Create a platform for practitioners to collectively speak to sponsors in a united voice;

5. Organize specific discussion session for sponsors and funders to sensitize on the challenges faced by the industry;

6. Develop a master plan by the performing arts practitioners which could be then presented as

a blueprint to other stakeholders such as the government;

7. Centralize a calendar of events and activities, which could also be extended to other bodies such as the tourism agency for promotional activities; or use existing platforms such as Kakiseni or the ministry’s tourism information hub, calendar, apps, or billboards;

8. Develop a database of creative art practitioner (possibly to revisit database previously created

by the Japan Foundation Kuala Lumpur and Kakiseni, if any);

9. Research on case studies of countries who have successfully develop the arts industry;

10. Review and revisit existing documents and researches on the performing art industry, and if necessary conduct further research to enable a wholistic analysis on the industry from a bird’s eye view;

11. Propose to the government to provide tax deductions for attending performing arts event;

12. Continue building international relations to create more diversity and build gateways to bigger

markets;

13. Advocate for wider participation by the practitioners in governmental policy-making;

14. Strengthening of links and create stronger unity among practitioners at the national level, possibly via a collective association;

15. Hold continuous and regular dialogue sessions between practitioners, private sector, and the

government.

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