My edited notes for forum on Fear of Writing? The Development of Political Theatre in Singapore at the Esplanade:
Of course we should not be allowed to say, to write everything that comes to our head. We should not be allowed to call for murder or arson or assault. But the limits matter, the limits are the points of contention. In other words, there are just laws and unjust laws.
The artist’s fear is not just that of censorship, but of worse. Indeed, censorship, though painful, demeaning and an act of violence against the artist and disrespect against the thence-deprived audience, sometimes reduces fear of other kinds of punishment because it means a certain sanction, however grudging, of whatever remains. However, this not always so, as censorship is often just the first of many feared punishments arbitrarily inflicted on the artist for even daring to challenge the status quo.
Is there any fear of writing in Singapore? There are two categories of fear. There is the fear of losing x or of suffering y. Of losing our job, of losing our standing, of losing our freedom, of suffering funding cuts, of not getting a scholarship, of not getting that promotion, of not getting into university or of our children not getting into university, of getting red-flagged or black-listed, of being censored, of being censured, of getting into any kind of small mess and inconvenience in our already complicated-enough lives that don’t need any more complications.
Then there is the second category of fear that both arises from and can result in the first category of fear coming true. The fear of writing, of painting, of creating, of producing, of directing, of acting, of making videos about dead people, and (these things extend beyond the field of arts to everyone) of saying you Like something such as a video about dead people that the government or the mob might not, of coming together to do things, of being seen to be doing things, of being seen to be with certain people or to have certain friends, of publishing online or in academic journals, of speaking in Hong Lim Park or in the classroom to your students or to your fellow students, of suggesting alternatives, of resisting, of expressing the precious things that are deep down inside us. This category is that of the fear of living according to what we truly believe in. It is the fear of being.
Not everyone fears everything. Not everyone has fears in the first category, fear of consequences. Furthermore, not everyone fears to do things in second category because she fears things in the first, the fear of consequences. Unfortunately, we have among ourselves precious few of these people. I don’t deign to count myself amongst them, far from it.
The forum was chaired by Janice Koh
Speakers: Ivan Heng, Alvin Tan, Robert Yeo and myself.
9 May, Sat, 4pm, at Open Stage, library@esplanade,
Synopsis: Despite our relatively brief theatre history, the Singapore stage has had no shortage of plays and performances that have courted controversy or compelled the use of the censor’s red pencil for their political content and commentary. How has political theatre in Singapore changed and developed over the years, if at all? What is the role of political plays here, and how effective or impactful have they been as a forum for reflection and transformation? What is the relationship between the artist, the State and audiences? In a place where artistic content continues to be regulated through licensing and funding, how have our theatre-makers found ways and strategies to be heard? Can art really speak truth to power? Is there a fear of writing? In a panel discussion moderated by Janice Koh, playwrights Robert Yeo and Tarn Tan How, together with theatre directors Ivan Heng and Alvin Tan, come clean on the subject.