Backlogues: An Arts Management Podcast Centre 42 and Sing Lit Station

What can we learn from all the conversations we’ve had on Backlogues so far?

In the pilot series of Backlogues, we have interviewed arts managers from differing backgrounds and practices. As a wrap-up, hosts Charlene Shepherdson and Serene Chen have a special discussion with veteran theatre practitioner Kok Heng Leun to find out his insights and actionable takeaways from the pilot series and the evolution of arts management in the 1980s and 1990s. They exchange views on the delights and challenges of working as an arts manager in Singapore, as well as reflect on persisting issues facing the arts ecosystem.

For transcript and references: backlogues.sg/episodes/8

How did local publishing houses chart the course for the literary arts during the 1980s? Host Charlene Shepherdson speaks with Goh Eck Kheng, founder of Landmark Books, and Lim Li Kok, founder of AsiaPac Books. By talking about their publishing strategies and the driving forces behind starting their own businesses, the duo proffer a detailed account of how the world of book publishing in Singapore really works, as well as the costs and complexities involved.

For transcript and references: backlogues.sg/episodes/7

In the first of the literary arts episodes of the series, host Charlene Shepherdson speaks with librarians R. Ramachandran and Michelle Heng about the development of Singapore’s reading infrastructure. They shine a spotlight on the foundations laid by pioneering librarian Hedwig Anuar, and how her early work with the National Library and the Singapore Book Council transformed Singapore’s literary arts scene by boosting the public accessibility of local literature and the development of new writing.

For transcript and references: backlogues.sg/episodes/6

How did the notions of multiculturalism and multidisciplinarity emerge in Singapore theatre, and what challenges did they present to the arts manager? Host Serene Chen speaks with arts manager Wong Han Juan, tracing the past and present challenges of nurturing an arts ecosystem that is supportive of diverse and experimental practices, by way of her experiences working as an arts manager with legendary arts pioneer Kuo Pao Kun and The Theatre Practice. They also discuss the joys and struggles of nurturing multidisciplinary and multicultural collaborations, and Han Juan’s role in fundraising and liaising with artists during the early years of The Substation.

Host Serene Chen chats with Clarisse Ng and Goh Su Lin as they share insights about their time working as arts managers with The Necessary Stage during the 1980s and 1990s. Serene chimes in with her memories acting for TNS productions in the 1990s!

Since its inception, the company recognised that the artistic and administrative aspects of its organisation were of equal importance, resulting in their collaborators taking on multiple roles across the company’s branches, spaces and productions. Given the company’s trademark practice of devised work, Clarisse and Su Lin further explain how their unique process-oriented approach to theatre-making presented equally unique challenges to the arts manager. We also learn how Su Lin’s legal background helped the young company in managing unprecedented controversies, navigating their way around setbacks that allowed them to become one of Singapore’s most eminent and well-loved companies to date.

What was it like to work as a production and stage manager in theatre during the 1980s?

Host Serene Chen chats with arts manager and multiple-hat-wearer Lucilla Teoh about working as an arts manager during the growing years of Theatreworks, now known as T:>works – one of Singapore’s most prominent theatre companies.

She shares memories of working with other arts managers and practitioners to enable the company’s innovative approach to developing a professional local theatre ecosystem, which included the concept of “Total Theatre”: theatre as a holistic, immersive and multi-sensorial experience.

She also discusses the company’s dedication to developing local Singaporean works through programmes such as the Retrospective of Singapore Plays and the Writers’ Lab. Collaborations with regional arts companies, such as Five Arts Centre in Malaysia, also make cameos within this conversation.

Listen out for Lucilla’s recollections of spooky encounters during the company’s residence at Fort Canning Hill!