2024年9月9日，新加坡文化、社區及青年部長唐振輝在國會書面答覆官委議員烏莎拉妮關於為藝術工作者制定技能和薪資指南問題。

以下內容為新加坡眼根據國會英文資料翻譯整理：

92烏莎拉妮（官委議員）女士詢問文化、社區及青年部長：是否有計劃制定或牽頭制定任何舉措，為藝術工作者制定全面的技能和薪資指南，以確保為藝術界成員提供有競爭力的薪資，並改善各藝術團體吸引和留住人才的情況。

唐振輝（文化、社區及青年部長兼律政部第二部長）先生：新加坡充滿活力的文化藝術界多年來不斷發展壯大。我們打算繼續培育這一行業，使其不斷發展壯大，以滿足社會對藝術和文化的需求。同時，它還提供了多樣化的工作角色和工作機會，以及多種職業發展途徑。

藝術行業和藝術工作者的收入一直在增長。

我們的藝術行業不斷發展壯大，反映了藝術從業人員的才華和勤奮，以及政府對藝術行業的持續投資，以維持和培育其發展。例如，在新冠疫情期間，政府採取大量干預措施來大力支持藝術界。我們推出了總額7500萬新元的「文化藝術振興配套」（Arts & Culture Resilience Package），幫助維持藝術公司得以持續發展，並保留行業內的工作崗位，包括自僱人士。去年，當我們全面恢復活動時，它還為該行業注入活力，幫助其從疫情中恢復過來。

在政府、藝術界和私營部門的共同努力下，藝術行業得以恢復增長。藝術行業的名義增加值從2020年的7.4 億新元回升到2022年的9.1億新元。這幾乎回到了2019年新冠疫情之前的9.5億新元的水平。

2018 年至 2023 年間，藝術行業全職就業居民的名義月總收入中位數也增長了26.5%。這高於全國名義月總收入中位數的增長率，後者同期增長了 17.1%。

政府打算通過《藝術藍圖2.0》（Arts Plan 2.0）（將在下文詳細闡述）和其他舉措，進一步推動藝術行業的發展。我們可以利用各種機會，例如改進技術，使藝術家更容易與世界各地的觀眾分享他們的作品。政府致力於與藝術行業合作，幫助我們的藝術家利用這些機遇，獲得可持續的、有競爭力的生計。

政府認為，在藝術領域創造良好的就業機會需要多管齊下。這與制定薪資指南本身無關。相反，要為藝術家創造良好的就業機會，就必須建立一個具有競爭力和可持續發展的藝術部門，並為其奠定堅實的基礎。而這又需要三個組成部分：實力雄厚的藝術公司和代表各種藝術形式的熟練從業者，以及支持並願意為本地藝術消費買單的廣大觀眾群體。根據我們的《2023-2027年新加坡藝術拓展藍》，國家藝術理事會 (NAC)的目標是推進這三個事業的發展。

實力雄厚的公司。首先，我們需要加強新加坡藝術公司的實力。實力雄厚的公司將能夠為藝術工作者提供更多更好的工作機會和更高的薪酬。我們的起點很高。過去幾年，藝術公司的數量有所增加，從2019年的約3,700家增加到2022年的4800多家，這表明許多公司認識到對藝術產品和服務的需求依然強勁，藝術家們也準備成立公司來從事藝術創作。

國家藝術理事會為幫助我們的藝術公司發展提供了支持，無論是通過主要輔助計劃（Major Company Scheme）等組織計劃，還是通過滿足不同目的的各種項目資助。實力雄厚的公司在整個生態系統中具有重要意義，因為它們為我們的藝術家提供了磨練技藝並在本地和國際上獲得認可的機會。

新加坡爵士協會（JASS）就是一個例子，該協會由新加坡文化獎獲得者傑里米.蒙泰羅（Jeremy Monteiro）於2016年創立。爵士協會的願景是擴大爵士樂社區，推進爵士樂教育，並通過其外聯工作將爵士樂帶給新的聽眾。多年來，國家藝術理事會通過項目和組織資金為爵士協會提供了支持。如今，爵士協會已成為藝術界的中流砥柱，他們將回饋社會和培養下一代音樂家作為其使命之一。

例如，新加坡爵士協會（JASS）曾多次與許凱翔（Rit Xu）合作演出。許凱翔（Rit Xu）是新加坡傑出的長笛演奏家，曾於2022年獲得新加坡國家藝術理事會頒發的青年藝術家獎，並被譽為首位在美國爵士樂獨奏比賽中獲獎的東南亞人。通過這樣的機會和其他許多機會，許凱翔得以在實踐中不斷磨練自己，在每一次演出中完善自己的技藝，並自2023年起一直隨「張學友 60+ 世界巡迴演唱會」進行世界巡演。

熟練的從業者。第二個方面是培養一批能夠勝任這些工作的熟練從業人員。多年來，政府已投入大量資金，建立本地藝術人才庫。例如，我們設立了藝術教育機構，如藝術學院和新成立的新加坡藝術大學。這些學校培養了一批具有前瞻性、才華橫溢、技能紮實的藝術畢業生，他們進入藝術界時已經做好了準備，可以貢獻自己的力量，分享自己獨特的聲音和觀點。

同樣重要的是，已經進入該行業的藝術工作者能夠進一步提升技能，並保持與時俱進。新加坡藝術理事會為藝術工作者提供繼續教育和培訓支持，以便藝術工作者能夠不斷提高技能。我們推出各種計劃，幫助藝術工作者掌握新興技能，確保他們的競爭力和就業能力。

為了最大限度地提高就業能力，我們的目標是幫助藝術工作者不斷提高技能。首先，藝術工作者需要了解自己需要掌握哪些技能。我們已經推出了一些舉措，如國家藝術理事會和新加坡精深技能發展局（SkillsFuture Singapore）於2023年聯合推出的 「藝術技能框架」（Skills Framework for Arts）。這些結構化框架有助於幫助從業者了解技能需求，提高自身能力，開闢自己的職業道路。

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其次，當從業人員了解自己需要掌握哪些技能後，國家藝術理事會會提供幫助，幫助他們掌握這些技能。例如，國家藝術理事會推出了新的培訓舉措，如後台管理事務（Backstage Affair）學徒試點。該計劃允許學徒通過實際製作中的親身體驗，學習舞台和製作管理的技巧，為他們提供寶貴的工作機會，讓他們掌握新技能，積累工作經驗。

通過這些戰略，我們將確保我們的藝術工作者能夠很好地利用現有的工作機會。

培養觀眾。最後，我們需要觀眾支持並願意為藝術付費。對藝術和文化有健康的需求是確保藝術公司和藝術家繼續獲得機會的關鍵。這不僅有利於我們的藝術家，也有利於我們的社會，促進社會和情感的健康發展，與我們的根和社會的聯繫。

根據「新加坡藝術拓展藍圖」（Our SG Arts Plan）（2023年至2027年），我們正在為新加坡人創造更多參與和支持藝術的途徑。例如，「藝術處處@社區發展理事會」（ArtsEverywhere@CDC）是新加坡藝術理事會與五個社區發展理事會之間的合作項目，旨在將高品質的藝術體驗帶到主要的中心節點（如淡濱尼中心和大巴窯中心）。通過每月的演出和活動，我們的目標是讓新加坡各社區的 50,000 多名居民參與其中，大大擴大新加坡人支持本地藝術家和藝術團體的機會。這一舉措也為藝術家和藝術團體創造了就業機會，幫助他們接觸新的觀眾以擴大觀眾基礎，並提高人們對其藝術形式的認識。

國家藝術理事會還支持藝術公司和藝術家接觸新的觀眾和市場。這有助於藝術家提高他們的地位和市場競爭力。例如，在視覺藝術領域，國家藝術理事會一直致力於提高新加坡視覺藝術家在國際舞台上的知名度，支持他們擴大影響力，吸引新的觀眾和收藏家。2024 年，國家藝術理事會支持眾多藝術家參加海外展覽和雙年展，其中包括趙仁輝（Robert Zhao）、何銳安(Ho RuiAn)、巴尼（Bani Haykal）、扎琳娜·穆罕默德（Zarina Muhammad）等。國家藝術理事會還支持藝術畫廊在重要的國際博覽會上展示新加坡藝術家的作品，包括首爾弗里茲藝術博覽會（Frieze Seoul）、巴黎亞洲藝術博覽會（Asia Now） 和台北當代藝術博覽會（Taipei Dangdai）。

國家藝術理事會還支持我們的本地作家尋找國際讀者。例如，國家藝術理事會與出版商合作參加 「2023 年法蘭克福書展」。據出版商報告，展會後共售出14份版權，包括名創（Marshall Cavendish）和世界出版社（World Scientific）分別出售的新加坡文學作品和兒童圖畫書的版權。此類交易是國家藝術理事會幫助我們的作家實現智慧財產權貨幣化、找到更廣泛的受眾並增加收入的努力的一部分。

有了更廣泛的受眾和強勁的需求，我們就能夠建立一個強大的生態系統，為實力雄厚的公司提供支持，為藝術工作者提供良好的工作機會。

改善藝術工作者就業結果的工作一直在進行。今年早些時候，我們宣布政府將在現有資金的基礎上，根據「新加坡藝術拓展藍圖」（Our SG Arts Plan）（2023年至2027年），在未來四年內再投資1億新元用於發展藝術行業。這將支持我們努力擴大藝術受眾、培養藝術工作者和加強健全的生態系統，所有這些都將有助於在藝術領域為新加坡人創造良好的就業和工作機會。

第92號問題的注釋：

1.資料來源：新加坡統計局

2.資料來源：綜合勞動力調查，人力資源研究及統計處，人力部。引用的數字是指全職就業居民的名義月總收入中位數（包括僱主公積金）的累計變化。按實際價格計算，藝術和文化部門在同一時期的增幅為10.7%，而全國增幅為2.5%。

3.趙仁輝— 威尼斯雙年展；何銳安—巴黎蓬皮杜藝術中心聯展；巴尼—釜山雙年展；扎琳娜·穆罕默德—光州雙年展；林育榮（Charles Lim）—第11屆亞太三年展（布里斯班）。

以下是英文質詢內容：

Ms Usha Chandradasasked the Minister for Culture, Community and Youth whether the Ministry has any plans to develop or lead any initiatives to create comprehensive skills and salary guidelines for arts workers so as to ensure that competitive salaries are provided to members of the arts community and to improve talent attraction and retention within the various arts groups.

Mr Edwin Tong Chun Fai: Singapore’s vibrant arts and culture sector has grown over the years. We intend to continue to nurture the sector to evolve and develop to meet our society’s artistic and cultural needs. At the same time, it also presents a diverse range of job roles and work opportunities, along multiple career pathways.

The arts sector and incomes of arts workers have been growing.

The evolving strength of our sector reflects the talent and industriousness of our arts practitioners, along with the Government’s continued investment in the arts sector to sustain and nurture its development. During the COVID-19 pandemic, for example, the Government intervened heavily to support the sector. We rolled out the $75 million Arts and Culture Resilience Package which helped to sustain arts companies and preserve jobs, including for self-employed persons, within the industry. It also provided a boost to the sector, helping it emerge stronger from the pandemic when we fully resumed activities last year.

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With the Government, arts community and private sector working together, the arts sector has been able to resume its growth trajectory. The nominal value-added of the arts sector rebounded from $740 million in 2020 to $910 million in 2022. This is nearly back to the pre-COVID level of $950 million in 20191.

Median nominal gross monthly incomes for full-time employed residents in the arts sector have also increased by 26.5% between 2018 and 2023. This is higher than the rate of growth for national median nominal gross monthly income, which increased by 17.1% over the same period2.

The Government, through Arts Plan 2.0, which will be elaborated upon below, and other initiatives, intends to further the growth of the arts sector. There are various opportunities which we can harness, such as improving technology, which makes it easier for artists to share their work with audiences worldwide. The Government is committed to working with the arts sector to help our artists take advantage of these opportunities and earn sustainable, competitive livelihoods.

The Government believes that creating good jobs and gigs in the arts sector requires a multi-pronged approach. It is not about setting salary guidelines per se. Rather, creating good jobs for artists requires a competitive and sustainable arts sector, with a strong foundation. That, in turn, requires three components: strong arts companies and skilled practitioners representing a diverse range of art forms, as well as a wide audience base supportive of and prepared to pay for the consumption of local arts. Under Our SG Arts Plan 2023-2027, the National Arts Council (NAC) aims to advance all three of these causes.

Strong companies. First, we need to strengthen Singaporean arts companies. Strong companies will be able to provide more and better work opportunities for arts workers and better pay. We are starting from a good base. The number of arts companies has increased over the past few years, from around 3,700 in 2019 to over 4,800 in 2022, showing that many recognise that there continues to be strong demand for arts products and services, and artists are prepared to set up companies to make art.

NAC has provided support to help our arts companies grow, whether through organisational schemes, such as the Major Company Scheme, or through the various project grants that cater to different purposes. Strong companies are significant in the overall ecosystem landscape, as they provide opportunities for our artists to hone their craft to and be recognised both locally and internationally.

One example is Jazz Association (Singapore), or JASS, founded by Cultural Medallion recipient Jeremy Monteiro in 2016. JASS』 vision is to expand the jazz community, advance jazz education and bring jazz music to new audiences through their outreach efforts. NAC has supported JASS over the years through project and organisational funding. JASS today is a staple of the arts scene and they have made it a part of their mission to give back and hone the next generation of our musicians.

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For instance, JASS has played many gigs with Rit Xu, an outstanding Singaporean flautist who received NAC’s Young Artist Award in 2022 and who was celebrated as the first Southeast Asian to win a solo jazz competition in the United States. Through such opportunities and many others, Rit has been able to hone his practice over time, perfecting his craft with every gig and has been on world tour with the Jacky Cheung 60+ World Concert tour since 2023.

Skilled Practitioners. The second prong is to develop a pipeline of skilled practitioners who would be able to take on these jobs. Over the years, the Government has invested heavily in building up the local talent pool in the arts. For instance, we have set up arts education institutions, such as the School of the Arts and the new University of the Arts Singapore. These schools produce a pipeline of forward-looking, talented arts graduates with a good base of skills who enter the arts workforce already ready to contribute and share their unique voices and perspectives.

It is also important that arts workers who are already in the industry are able to further upgrade their skills and keep current. NAC provides support for arts workers to undergo continuing education and training, so that arts workers can continually improve their skills. We have introduced programmes to help arts workers to equip themselves with new and emerging skills to ensure their competitiveness and employability.

To maximise employability, we aim to help arts workers continually enhance their skillsets. First, workers need to know what skills they need to acquire. We have introduced initiatives like the Skills Framework for Arts, jointly launched by NAC and SkillsFuture Singapore in 2023. These structured frameworks are beneficial to help practitioners understand skill needs, improve their own capabilities and forge their own career pathways.

Second, when workers have understood what skills they need to acquire, NAC provides assistance to help them acquire those skills. For instance, NAC has introduced new training initiatives, such as the Backstage Affair’s Apprenticeship Pilot. This programme allows apprentices to learn the ropes of stage and production management through a hands-on approach in actual productions, providing valuable work opportunities to acquire new skills and build their work experience.

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With these strategies, we will ensure that our arts workers are well-positioned to take advantage of the work opportunities available.

Developing Audiences. Finally, we will need audiences to be supportive of and willing to pay for the arts. Having a healthy demand for the arts and culture is key to ensuring that there will continue to be opportunities for arts companies and artists. This benefits not just our artists, but our society as well, nurturing social and emotional well-being, connection to our roots and social bonding.

Under Our SG Arts Plan 2023-2027, we are creating more ways for Singaporeans to get involved in and support the arts. For instance, ArtsEverywhere@CDC is a partnership between NAC and the five Community Development Councils to bring high quality arts experiences to major heartland nodes, such as Our Tampines Hub and Toa Payoh Hub. Through monthly performances and activities, we aim to engage more than 50,000 residents in various communities across Singapore, significantly expanding opportunities for Singaporeans to support local artists and arts groups. This initiative also creates job opportunities for artists and arts groups, helps them reach new audiences to grow their audience base and generates greater awareness of their art forms.

NAC is also supporting our arts companies and artists in reaching new audiences and markets. This helps our artists to enhance their stature and marketability. For example, in the visual arts sector, NAC has consistently worked to raise the prominence of Singapore’s visual artists on the international stage by supporting their efforts to expand their reach to new audiences and collectors. In 2024, NAC supported numerous artists at overseas exhibitions and Biennales, including Robert Zhao, Ho Rui An, Bani Haykal, Zarina Muhammad and more3. NAC also supports art galleries to present Singapore artists』 works at key international fairs, including Frieze Seoul, Asia Now and Taipei Dangdai.

NAC has also supported our local writers in finding international audiences. For example, NAC worked with publishers to participate in the 2023 Frankfurt Book Fair. The publishers reported a total of 14 sales of rights post-fair, including rights sold by Marshall Cavendish and World Scientific for Singapore literary titles and children’s picture books respectively. Such deals are part of NAC’s efforts to help our writers monetise their intellectual property, finding wider audiences and contributing to their income.

With wider audiences and strong demand, we will be able to create a robust ecosystem capable of supporting strong companies and good jobs for arts workers.

The effort to improve employment outcomes for arts workers is an ongoing one. Earlier this year, we announced that the Government would be investing another $100 million to grow the arts sector over the next four years under the Our SG Arts Plan 2023-2027, on top of existing funding. This will support our efforts to build a wider audience for the arts, develop our arts workers and strengthen a robust ecosystem, all of which will contribute to creating good jobs and work opportunities for Singaporeans in the arts sector.

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Note(s) to Question No(s) 92:

1 Source: Department of Statistics

2 Source: Comprehensive Labour Force Survey, MRSD, MOM. Numbers cited refer to the cumulative change in median nominal gross monthly income from employment, including employer CPF, of full-time employed residents. In real terms, the increase over the same time period was 10.7% for the arts and culture sector, versus 2.5% at the national level.

3 Robert Zhao – Venice Biennale; Ho Rui An – group exhibition at Centre Pompidou in Paris; Bani Haykal – Busan Biennale; Zarina Muhammad – Gwangju Biennale; Charles Lim – 11th Asia-Pacific Triennial (Brisbane).

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