By Lorraine Lim (Editor) Hye-Kyung Lee (Editor)
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Example text
Whether art is believed to make a person more gracious, to encapsulate the best of civilization, to articulate deeply personal stories for universal empathy, or simply to provide entertainment products that command a premium from global travellers, it has become a mystical creature from which bureaucrats can summon forth varying definitions to suit policy agenda. Bureaucratic mastery may, likewise, demand the re-imagination of historic cultural capitals. According to the ACSR Report (2012, p. 6), Throughout the history of the Western and Eastern world, several cities have stood out as the arts and cultural capital of their time.
Singapore: Global City for the Arts (1992) (Singapore: Economic Development Board and Ministry of Information and the Arts). Singapore in Figures (2012) (Department of Statistics, Singapore: Singapore). Straits Times (May 5, 2010) ‘NAC Cuts Funds to Theatre Company Wild Rice’. Tan, C. (2013) ‘Big Names in Arts Community behind Plans to Put Out an Arts Manifesto’, Straits Times, March 19. The Mirror: A Weekly Almanac of Current Affairs (December 28, 1972), ‘Prosperous Society into Civilized Society’.
Some new cultural policies were developed to respond to the development of Taiwanese consciousness. In 1977, President CHIANG Kuo Chiang presented ‘Twelve Constructions,’ and then the government decided to establish a cultural center in every city and county to improve local culture. In 1983, The Council of Cultural Affairs (CCA)7 promulgated the ‘Essential Points of Cultural Centers’ to improve the functioning of cultural centers. In addition, the third chairman of the CCA, SHEN Xue-Yong, provided a new concept for cultural policy – a shift from ‘central to local’ in 1993.