This is a postprint version of: Lim, Sun Sun, Nekmat, Elmie, & Vadrevu, Shobha. (2011). Singapore’s experience in fostering youth media production –the implications of state-led school and public education initiatives. In J. Fisherkeller (Ed.), International perspectives on youth media: cultures of production and education (Vol. 12., pp. 84-102). New York: Peter Lang. Singapore’s Experience in Fostering Youth Media Production: The Implications of State-Led School and Public Education Initiatives Sun Sun Lim, Elmie Nekmat, and Shobha Vadrevu With the widespread availability of information technology, young Singaporeans enjoy exciting possibilities for the consumption and production of media. Their government has introduced various initiatives through schools and public education campaigns to encourage more young people to acquire media production skills. This chapter reflects on the efficacy of these initiatives and their implications for the development of youth media production in Singapore. Two significant media education programmes and the media products that they have generated are assessed in detail. The chapter concludes that while state-led media production education programmes have succeeded in heightening young people’s awareness of and competencies for media production, these should be complemented by private-sector-run programmes which afford young Singaporeans more room to exercise their creativity. At the same time, the current emphasis on imparting technical media production skills should be balanced by increased efforts to vest young Singaporeans with the critical literacy to consume and produce media in an informed, critical and discerning manner. Above all, however, the infusion of the existing national curriculum with media production education would be best served by a shift in the pedagogical approach that underscores the current education system, from one which is more hierarchical and individually oriented to one that is more heterarchical and collaborative in nature.
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This is a postprint version of: Lim, Sun Sun, Nekmat, Elmie, & Vadrevu, Shobha. (2011). Singapore’s experience in fostering youth media production –the implications of state-led school and public education initiatives. In J. Fisherkeller (Ed.), International perspectives on youth media: cultures of production and education (Vol. 12., pp. 84 -102). New York: Peter Lang.
Singapore’s Experience in Fostering Youth Media Production: The Implications of State-Led School and Public Education Initiatives
Sun Sun Lim, Elmie Nekmat, and Shobha Vadrevu
With the widespread availability of information technology, young Singaporeans
enjoy exciting possibilities for the consumption and production of media. Their government
has introduced various initiatives through schools and public education campaigns to
encourage more young people to acquire media production skills. This chapter reflects on the
efficacy of these initiatives and their implications for the development of youth media
production in Singapore. Two significant media education programmes and the media
products that they have generated are assessed in detail. The chapter concludes that while
state-led media production education programmes have succeeded in heightening young
people’s awareness of and competencies for media production, these should be
complemented by private-sector-run programmes which afford young Singaporeans more
room to exercise their creativity. At the same time, the current emphasis on imparting
technical media production skills should be balanced by increased efforts to vest young
Singaporeans with the critical literacy to consume and produce media in an informed, critical
and discerning manner. Above all, however, the infusion of the existing national curriculum
with media production education would be best served by a shift in the pedagogical approach
that underscores the current education system, from one which is more hierarchical and
individually oriented to one that is more heterarchical and collaborative in nature.
Introduction
From blogs to podcasts, digital animation to online games, Friendster to Facebook,
young Singaporeans have been embracing digital media, albeit with the government holding
their hands and watching for hazards as they scamper down the bustling information
superhighway. Indeed, Singapore’s avid adoption of information technology (IT) has been
largely state-driven. The government has introduced a slew of business-friendly policies to
grow local innovation and attract foreign investment in the country’s IT and media industries
while investing heavily in IT infrastructure. Singapore’s IT infrastructure is among the most
comprehensive worldwide, with household broadband Internet penetration at 99.9% (W. Tan,
2009a), and complemented by an extensive free public Wi-Fi network (Infocomm
Development Authority [IDA], 2008). Along with government investment in hardware have
come concerted efforts by the state to intensify the use of information technology in the
curriculum at all educational levels, from pre-school to university. Students at all levels are
regularly required to research, prepare and submit assignments using the Internet. Career
guidance for young people is also offered through an online portal which enables students to
take profiling tests that match professions to the students’ skills, create electronic portfolios,
track their academic achievement and acquire interview skills through online videos and
quizzes (A. Tan, 2009). Consequently, young Singaporeans are the country’s most avid
Internet users, with 90% of 7–14-year-olds and 96% of 15–24-year-olds having accessed the
Internet in the twelve months preceding the survey (IDA, 2008). The same study found that
96% of Singaporeans aged 15–24 access the Internet at least once a week, facilitated by its
ubiquity and accessibility. The three most popular activities for this age group are:
communicating via email, instant messaging and/or social networking (83%); pursuing
leisure, including online gaming, reading online newspapers and magazines, watching web
television etc. (57%); and seeking information, including general web browsing and
obtaining information on goods, services, job opportunities, health issues and so forth (51%).
Among the Singaporean population, 15–24-year-olds are most likely to have engaged in
creating online content, with 1 in 4 of them having done so, compared to 1 in 10 for the
general population. The leading online content creation activities for this age group are
creating and maintaining personal blogs (16%), sharing one’s own photos (6%), creating and
maintaining personal websites (4%) and broadcasting self-produced videos via video-sharing
sites (4%). Clearly, media production among young Singaporeans lags significantly behind
their media consumption, and the government has introduced various initiatives to encourage
more young people to acquire media production skills to align with the government’s
overarching goals to develop the media industry. These include introducing media production
skills training in schools, providing free or highly subsidised media production courses for
the general public and organising festivals, road shows and competitions which centre on
media production.
In light of the extent of this spate of initiatives, it is imperative to reflect on their
efficacy and implications for the nature of young people’s media production in Singapore. To
this end, this chapter examines the state-led culture of media production in Singapore and
concludes by making several policy recommendations. The chapter begins by explaining the
various contextual specifics of Singapore, such as the government’s role in the media sector
and the local education system, and how these affect the development of media production
among the young in Singapore. Two prominent cases of media production initiatives
undertaken in Singapore are also highlighted to illustrate the current directions of media
production among youths. The chapter concludes with a discussion of the repertoire of
capacities which today’s youths need for functioning effectively in an environment that
requires them to be both consumers and producers, and considers whether the government’s
efforts in media production education help to nurture these capacities.
Singapore’s media landscape
Singapore’s media industry has grown significantly in the last ten years, spurred by
the government’s efforts to foster this sector as an engine of economic growth. From the early
1980s, the government of Singapore sought to restructure the economy through the
widespread application of IT (Rodan, 1998). Its goal was to develop the country into an IT
production hub of global repute, and, to this end, a succession of strategic plans have been
implemented including Infocomm 21, Connected Singapore and Intelligent Nation 2015
(IDA, 2009a). These plans focused on developing reliable and cutting-edge IT infrastructure
to serve industry and society, boosting innovation and entrepreneurship and nurturing a
skilled and creative workforce. Additionally, the government of Singapore recognized that in
order to encourage creativity, there was a need for less regulatory rigidity so that policies
would not “unnecessarily impede the development of new and innovative services in the new
environment” (IDA, 2009b). Hence, unlike its approach toward the print and broadcast
markets, which are closely regulated through licensing laws, indirect government ownership,
content restrictions and censorship (George, 2006), the Singapore government’s ‘light touch
approach’ toward regulating Internet content centres on industry self-regulation and public
education (Media Development Authority [MDA], 2009). This regulatory shift is aimed at
giving industry players greater flexibility to operate and innovate within Singapore’s IT and
media industries. At the same time, the government has sought to attract foreign media
companies and provide grants to local start-ups to stimulate growth in the media industry.
Various initiatives have been launched to ensure a pro-business environment through setting
out clear and consistent regulatory policies and guidelines, creating state-of-the-art
infrastructure, promoting public-private alliances and providing monetary incentives. For the
media sector per se, the MDA is forecast to spend S$250 million to promote development in
publishing, music, games, animation and interactive digital media (Marketing-interactive
2009). Given its small land area of 247 square miles, Singapore is completely bereft of
natural resources apart from its people. Hence its economy has been traditionally service
based and seeks to constantly explore avenues for diversification, with the expansion of the
interactive and digital media sector as a key growth strategy (Singapore Media Fusion, 2009).
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Partly as a result of these efforts, a host of leading media companies such as Ubisoft,
Lucasfilm, Electronic Arts, Koei Entertainment and DigiPen have set up operations in
Singapore, contributing to a rising demand for skilled workers in the interactive and digital
media industries which are projected to create 10,000 jobs over the next six years (Tan, A.,
2009). To meet these industry needs, and to better position Singapore for future economic
growth, the government has also made efforts to establish specialist media production
training institutes. For example, the DigiPen-Ubisoft campus was set up through the
collaborative efforts of the DigiPen Institute of Technology, Ubisoft Singapore and
Singapore’s Workforce Development Agency (DigiPen Institute of Technology, 2009). Top
animation schools such as Canada’s Sheridan College have also set up campuses in
Singapore (Contact Singapore, 2007). There has also been a sharp increase in local
entrepreneurship in the interactive and digital media industries. The government nurtures
local companies through assistance programmes such as fund injections of S$40 million for
novel business initiatives and by organising strategic networking and tutelage sessions with
international media giants (Media Development Authority, 2008). In addition, the National
Research Foundation has a S$500 million fund for awarding grants to research relating to the
interactive and digital media sector (Government of Singapore, 2009a).
Media production education within Singapore schools
To support the growing adoption of IT in Singapore’s rapidly modernizing economy,
the government has sought to incorporate IT training into schools, from primary to tertiary
levels. Within Singapore schools, IT use is incorporated into at least 30% of curriculum time
through its use in instruction, online learning portals and interactive educational games (Koh,
2007). The vast majority of schools from primary to pre-university levels are state-run and
come under the purview of the Ministry of Education (MOE), which promotes IT use in
schools by providing network infrastructure, hardware and curricular support. To this end, the
first phase of the IT Masterplan was launched in 1997, and the move toward educating
students as media producers was kick-started by training teachers to be IT-savvy and
equipping schools with the necessary IT infrastructure. Teachers were encouraged to actively
use ICTs as teaching and learning tools, form IT committees, and conduct extra-curricular
classes in IT. In the second phase of the Masterplan (2003–2008), the aim was to integrate IT
more deeply into lessons, increasing interactivity and engagement. In this phase, the goal was
to actively involve learners in more participatory and collaborative media environments such
as video production, virtual worlds such as Second Life,1 blogs and wikis. Teachers were
expected to become media producers themselves, so that they could guide their students in
this field. Notably, the winning entries in the teachers’ category for the 2008 Schools Digital
Media Awards, a competition that showcases the media production capabilities of its
participants, included both video and animation productions. The third phase of the
Masterplan (2009–2014) ambitiously aims to transform the learning environment, wherein
learning experiences will be mobile and spontaneous, and customised to individual students’
learning styles. Teachers will be urged to maximise their IT competencies to teach more
effectively. One example of progress in the area of teacher media production was the West
Zone Sharing of Resources Project, or WeSHARE, which was a digital repository project
developed “for teachers by teachers” in 2006, in which teachers uploaded their own media
productions to share with other teachers (Ng, 2008). So successful was this venture that it
was expanded to schools nationwide to form the Inter-cluster Sharing of Resources project, or
iSHARE.
Clearly, teachers are key scaffolds in the Singaporean government’s bid to intensify
media production training within the education system. The student winners of the afore-
mentioned School Digital Media Awards, for example, credited their teachers and schools for
sparking their interest in and enhancing their experience with media production. Yet not all
teachers are able to engage in media production at this level, and neither are they convinced
that they need to. With the heavy emphasis on examination results in Singapore schools
(Gregory and Clarke, 2003) and the large class sizes of 30–40 students per class at primary
and secondary levels (Pong and Pallas, 2001), most teachers tend to focus on the transmission
model of teaching (Lim, 2006), reflected in the proliferation of PowerPoint presentations and
the slow uptake of other forms of media production. Hence, even if teachers have the
motivation and interest to impart media production skills to their students, they have to
overcome or seek to circumvent these limitations.
At this juncture, it is pertinent to consider the overall pedagogical approach adopted in
Singapore’s education system. While there have been discernible shifts toward participatory
learning in recent years (Tan et al., 2008), a hierarchical structure still pervades Singapore’s
education system, with teachers at the top dispensing knowledge to the students at the bottom
(Ng and Smith, 2004; Nguyen et al., 2006; Fan and Zhu, 2007). In the present digital age, in
which the proliferation of media resources greatly enhances independent learning and vests
students with potentially diverse skills and experiences (Davidson and Goldberg, 2009), a
heterarchical structure with teacher and students working together to shape the learning
process is synchronous with the resulting transformation of knowledge frameworks, whether
the instruction be in math or media production. In addition, the inculcation of media
production skills would be more effective within an environment of collaborative learning
given that media production is often a collaborative enterprise. In a top-down, authority-
centred educational setting, basic media production skills may well be imparted, but higher-
order critical thinking skills that empower students as media producers are less likely to be
developed.
Access to facilities for different types of media production is another issue. While
computing facilities are well catered for with the ratio of computers to pupils in primary
school at 6.6:1 and 5:1 for secondary and pre-university pupils respectively (MOE, 2004), not
every school is equipped with specialised media production facilities. However, in line with
the government’s interest to boost the media industry and stimulate domestic media creation,
steps have been taken in recent years to enhance resources and awareness related to media
production in schools. A case in point is Innova Junior College, which has a New Media Arts
Room, a mini-studio that is equipped with lights, video cameras, a music keyboard and even
a blue screen for special effects. The students are taught to put together portfolios of their
media productions to facilitate their applications for media courses in tertiary institutions.
Beyond helping to pique students’ interest in media production, such resource provisions give
students a hands-on experience of media production that is invaluable. For example, a team
from Shuqun Primary School which won one of the top prizes in the Schools Digital Media
Awards 2008 attributed their interest and ability in media production to their teachers’
guidance and the facilities provided by the school, which included video cameras, GPS
devices, tablet PCs and a podcasting studio. Indeed, the school’s website is peppered with
delightful student-produced videos which showcase their skills in videography and
claymation.
Given the broad-based nature of the curriculum at primary and secondary levels, the
attention given to media production education is less focused than at tertiary levels, where
options for specialized media courses abound. Increasingly, however, more schools are
seeking to integrate media production education into the mainstream curriculum. For example,
Northland Primary School has a comprehensive programme that incorporates media
production into the overall curriculum of the school and sets out training stages for each level.
Over the six years of their primary school education, students learn touch typing, digital art,
word processing and presentation software, Internet literacy modules, video editing and