Places Of The Heart: Cultural icon Dick Lee finds fount of inspiration in Marina Bay
Who: Dick Lee, 68, home-grown singer-composer and Cultural Medallion recipient, has penned songs for some of Singapore's best-loved stage musicals such as Beauty World (1988) and Fried Rice Paradise (1991). He also composed the iconic National Day theme song, Home (1998) .
Lee recently curated the landmark multimedia exhibition, SingaPop! 60 Years Of Singapore Pop Culture. It is on at the ArtScience Museum till Dec 28 and explores the island's multicultural society from the 1960s to the 2020s.
'I rediscovered my love of Marina Bay on solitary morning jaunts – where I try to put in my 10,000 steps a day – during the early months of the Covid-19 pandemic in 2020.
I took to walking as a form of exercise back then partly because it was an excuse to be outdoors without having to don a pesky mask all the time.
I live in the Chinatown precinct, so taking long walks regularly each week to Marina Bay during the pre-dawn hours gives me quite a workout.
I love the contrasts of my walk, which takes me from the Chinatown of old Singapore to the glittering metropolis of the city and then to the Housing Board heartland – beautiful facets of our beautiful home.
Also, the routine allows me to take in the almost surreal landscape of the city, with the sun's rays barely visible on the distant horizon, and the streets and buildings cloaked in semi-darkness.
On one of my walks, I happened to get close to the Merlion, and in the half-light of the wee hours, saw a solitary sentinel in that pocket park – devoid of gawking tourists or babbling travel guides.
I was overcome by the symbolic power of the 70-tonne half-fish, half-lion statue – a nod to Singapore's history, with the fish body evoking the island's connection to water as Temasek in the early 13th century, and the lion's head being a reminder of the later legend in the 14th century that is linked to the founding of Singapura, the Lion City.
Looking past the majestic landmark, I was reminded of family outings to the Satay Club at the old Esplanade when I was a child, squatting on the low wooden stools that the hawkers laid out.
The rustic outdoor ambience was heightened by the smoky aroma of sizzling satay on skewers, their oily, spicy marinade dripping in the heat of burning charcoal, causing the red-hot embers to shoot out flames and sear the meat to a crisp in parts.
Returning to the present, I could see the miracle of Singapore's urban transformation writ large.
Cultural Medallion recipient Dick Lee at Marina Bay.
PHOTO: COURTESY OF DICK LEE
Marina Bay today shimmers like Singapore's jewelled heart, where glass towers and the sky's reflection merge upon serene waters. By day, gardens soar and the city hums with ambition.
By night, lights seem to waltz across Marina Bay, weaving dreams and possibilities in a spectacle of modern grace – a living poem in stone, steel and glass – as can be seen in the architectural gems of Marina Bay Sands, Esplanade – Theatres on the Bay and ArtScience Museum.
For a fleeting moment, my mind went back to the days when Singapore was called a 'cultural desert' in the 1960s and 1970s.
During those fledgling days of nation-building, critics said we lacked a local arts scene in our relentless pursuit of economic growth.
But I take heart now as I gaze at the Esplanade's theatres, where my own productions and concerts have been staged over the years.
Dick Lee at the SingaPop! 60 Years Of Singapore Pop Culture exhibition, which he curated, at the ArtScience Museum on July 30.
PHOTO: ST FILE
Over at the ArtScience Museum, my debut exhibition, SingaPop! 60 Years Of Singapore Pop Culture, explores how a multicultural society has honed its own identity, from the birth of Singlish to the rise and rise of hawker food to the transformation of local fashion, music and films. It also features interactive elements and anecdotes from my lived experiences.
This beautiful bay stands for everything Singapore is about: our determination, resilience, survival and ingenuity.
And as the sun rises behind the awe-inspiring Marina Bay Sands, my heart never fails to be filled with pride, my mind brimming with new ideas and my eyes moist with tears.
Marina Bay stands for the fact that dreams can be realised, a tenet that has guided most of my life.
I will never forget former prime minister Goh Chok Tong's declaration in a 1999 speech to Parliament where he said Singapore would be a world-class city.
And look at us now. '
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She added: 'He sometimes made demands that seemed hard to meet: he insisted on some way of cooling the stage when I was planning the first iteration of the Symphony Stage in the Botanic Gardens, but we got it done and I understood that he wanted the musicians to be presented in the usual concert attire and not something more casual.' Top stories Swipe. Select. Stay informed. 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'He was not afraid to be outspoken. His phrase was, 'I do what I know is right, and the consequences be d****d.' His job was not to please people or be politically correct, but to be true to the music. 'He never cut corners, and was as tough on himself as he was with other musical professionals. Needless to say, he was not well-liked by musicians and some critics, although he also built up a legion of fans. After he retired, he conducted SSO sporadically and often wondered whether he had been forgotten.' Cellist and co-founder of the T'ang Quartet Leslie Tan commented: 'It is sad that when they retired him, he was quickly forgotten bar the token concert with the SSO. But that's the Singapore style. Efficient, unsentimental, mercenary.' He credited Mr Choo and the SSO paving the way for subsequent generations of musicians like hime: 'He and the SSO gave a lot of my generation of musicians the wonderful opportunity to have a wonderful education overseas. He had foresight and had great ideas for the orchestra. If not for him, many of us, me, the SSO, the entire cultural landscape of Singapore would be very different. I know I owe him a great debt of gratitude.' Dr Chang added that Choo Hoey was 'a great spotter of young talent', introducing the then 15-year-old Lang Lang in 1997 and violinists Jin Li and He Ziyu to local audiences. Veteran conductors (from left) Yeh Tsung, Choo Hoey and Hu Bing Xu at a concert to mark the Singapore Chinese Orchestra's 20th anniversary in 2016. In a Facebook post on the night of Aug 15 , the SSO said it was 'deeply saddened' by his death , crediting him as having made invaluable contributions to Singapore's musical landscape. Mr Choo, who established the orchestra in 1979 alongside former d eputy prime minister Goh Keng Swee - its founding patron - was its music director between 1979 and 1996 . The 90-year-old had led the orchestra on four European tours, said SSO, adding that he had 'built up the orchestra from its modest beginnings, and developed an extensive repertoire ranging from the early baroque to contemporary masterpieces'. Mr Goh Yew Lin, chairman of the Singapore Symphony Group who has been involved with the group since 1990, wrote on his Facebook page: 'He had a good eye for talent, strong musical convictions and a very broad repertoire, conducting countless local premiers of 20th century masterworks; I remember especially his championship of Bartok, Stravinsky, Shostakovich and Berg. He was also a champion of Chinese composers and musicians. His legacy is not just the SSO, but an entire generation of music lovers whose experience of music was shaped by his zeal, curiosity and passion.' He had been one of the first recipients of the Republic's highest arts accolade, the Cultural Medallion , having been bestowed it in 1979 when it was first instituted. 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'The first concert, I remember, there were a lot of things I couldn't find answers for. I couldn't find musicians, I didn't know whether the orchestra would last,' said Choo in a 2019 interview with ST when he came out of retirement to conduct for the SSO's 40th anniversary concert. Today, the orchestra performs over 60 concerts a year and has been named one of the 23 best orchestras in the world by BBC Music Magazine. He is survived by his wife and two sons. Additional reporting by Ong Sor Fern
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Move over, Labubu – Chiikawa is the new craze in Hong Kong
Sign up now: Get ST's newsletters delivered to your inbox A bird's eye view of one of the two outdoor zones of the Chiikawa Days exhibition in Tsim Sha Tsui, Hong Kong. – Step aside, Labubu – there's a new sensation in town. Meet Chiikawa, a small and cute hamster-like character from a popular Japanese manga series whose creations and merchandise have now taken Hong Kong by storm. Chiikawa , the titular character, has a big round face and beady eyes. It is gentle, timid, and prone to tears . Its name is derived from a Japanese phrase that means 'something small and cute'. It does not talk, but can sing ' u uwawa uwa '. The manga series started as a web comic on Twitter in 2020 , following the adventures of Chiikawa and friends – including Hachiware, a cheerful cat-like creature, and Usagi, a fearless rabbit-like character – as they navigate daily challenges at work and celebrate small wins . The story was adapted into a TV anime series in Japan in 2022. For Chiikawa fans like Ms Elizabeth Chow, the appeal goes far beyond its cuteness. While the cartoon might appear like it caters only to children, its storylines and characters address deeper issues that strike a chord with adults, said Ms Chow. For example , the characters work in menial jobs like weed pulling or fruit labelling to make ends meet . Living from pay cheque to pay cheque, they have to budget for simple pleasures like treats and meals with friends. 'Although the setting is 'kawaii' (cute) on the surface, it is an adult world where the characters have to face everyday hurdles and stress,' said Ms Chow, a finance industry worker who started following the series in 2025 after her friends shared it with her. 'With their friends' support during periods of burnout, they navigate and achieve every minor but meaningful victory. These stories offer therapeutic and comforting experiences, as viewers witness the support and perseverance displayed by the characters in overcoming their daily struggles that mirror the viewers' own anxieties.' The anime offers a form of 'empathic escapism', showing that 'it's okay to struggle – as long as we stay resilient and persist, we will find joy in life', Ms Chow said. Going viral Hong Kongers' interest in Chiikawa started in 2024, with online searches for the comic character rising steadily across the year, according to Google Trends. But the craze truly took off around the summer of 2025, when more Chiikawa merchandise and exclusive products from brand collaborations arrived in Hong Kong and were quickly snapped up by fans. The queue for the 'one time chance' to buy Chiikawa merchandise from the exhibition. ST PHOTO: MAGDALENE FUNG The city's first Chiikawa pop-up store with Instagrammable photo spots opened at Tsim Sha Tsui's Harbour City mall in April and immediately drew snaking overnight queues . Brands like Uniqlo, Converse, Casetify, Chow Tai Fook and 7-Eleven started launching limited-edition Chiikawa collections of apparel, sneakers, mobile phone cases, jewellery, tumblers, keychains and so on. Merchandise like Chiikawa phone covers are being sold in a tie-up with Hong Kong phone cover brand Casetify. ST PHOTO: MAGDALENE FUNG By July, the adorable characters could be seen everywhere across the city, even at MTR stations where gantry gates played Chiikawa sound effects as passengers tapped their cards. In late July, McDonald's started offering Chiikawa-themed Happy Meal toys. A week later, the Hong Kong Tourism Board (HKTB) and Trade Development Council (HKTDC) jointly launched and promoted a large-scale exhibition that centred on the comic character . The Chiikawa Days exhibition features life-size interactive 3D displays and the characters in the form of dim sum dishes like har kow and siew mai. ST PHOTO: MAGDALENE FUNG The Chiikawa Days exhibition, which features life-size interactive 3D displays and the characters in the form of dim sum dishes like har kow and siew mai, opened on Aug 1 at the K11 Musea mall in Tsim Sha Tsui. Originally slated to run for three weeks, it was extended to end-August on opening day after the first two rounds of tickets sold out within 30 minutes. Unscrupulous scalpers are reselling the HK$180 (S$29) tickets for as much as HK$500. Exclusive collector sets of figurines from the event are also being resold online at up to five times their retail price. A special Chiikawa-themed ramen restaurant is set to open on Aug 16 at the Langham Place mall in Mong Kok. The Chiikawa Ramen Buta store will be the first such restaurant to open outside of Japan, which has four eateries of the same theme. Mental refuge Psychologist Adrian Low attributes the popularity of Chiikawa in Hong Kong to a combination of psychological, cultural and marketing factors. 'The character's innocence and positivity provide a mental refuge from daily pressures in a fast-paced, high-stress city like Hong Kong,' said Dr Low, chairman of the Hong Kong Association of Psychology. Second, he said, Hong Kongers' longstanding appreciation for Japanese pop culture, in particular the 'kawaii' (cute) aesthetic, makes Chiikawa 'instantly appealing'. Third, the HKTB and HKTDC's 'aggressive marketing campaigns also created a sense of exclusivity and urgency, with social media amplification further fuelling the craze as people seek to participate in a shared cultural moment '. 'The collective enthusiasm for Chiikawa fosters a sense of community. Owning merchandise or attending events thus becomes a way to connect with others and feel like a part of a larger trend,' the psychologist noted. At the Chiikawa Days exhibition, fans sported Chiikawa T-shirts, hairbands and clips, carried bags with transparent pockets showing off their personal Chiikawa collection, and posed for photos with their plushies in front of the displays. Fans at the Hong Kong exhibition carry bags with transparent pockets to show off their personal collection of Chiikawa plushies. ST PHOTO: MAGDALENE FUNG Ms Amelie Chan, a fan in her 20s, treasured her experience at the exhibition, which she attended alone in early August as the tickets were 'not easy to get'. 'I first started liking Chiikawa because they are so cute; watching the anime of these pure and innocent characters helps me to relax after a long day at work,' said Ms Chan, a legal professional. 'They are also very relatable,' she said, recalling a scene where Hachiware had to save up to buy a camera, which reminded her of her own childhood. The Chiikawa Days exhibition was extended to end-August on opening day after the first two rounds of tickets sold out within 30 minutes. ST PHOTO: MAGDALENE FUNG Chiikawa versus McDull Hong Kong's Chiikawa craze echoes a similar wave of enthusiasm in an animated pig called McDull , created by local cartoonists in the mid-1990s. It took the city by storm in the 2000s and again in the 2010s. The daily challenges faced by McDull – a very ordinary but kind-hearted pig born to a single parent – reflected the city's struggles and aspirations during a period of economic uncertainty and political transition, according to Dr Low. 'His underdog story and perseverance resonated deeply with Hong Kongers, symbolising resilience and hope,' he said. Chiikawa, meanwhile, 'doesn't carry heavy societal messages but provides a light-hearted escape… a form of emotional relief in a highly competitive and polarised society', he noted. For brand strategist Ken Ip , Chiikawa's 'blend of vulnerability, perseverance and subtle melancholy mirrors the emotional state of many urban youths in Hong Kong who feel overwhelmed, yet continue to quietly push through'. The comic character's merchandise thus 'becomes a vessel for self-expression and emotional connection', said Dr Ip, an assistant professor at Saint Francis University's Rita Tong Liu School of Business and Hospitality Management. 'Being seen at a Chiikawa pop-up, lining up for exclusive merch, or sharing themed coffee photos, is as much about social currency as it is about fandom .' Soft power hub Displays at the outdoor zone of the Chiikawa Days exhibition include the characters featuring in local dimsum dishes and against the city's iconic skyline. ST PHOTO: MAGDALENE FUNG What makes Hong Kong's Chiikawa craze particularly special , Dr Ip said, is how much effort the local authorities have put in to spearhead and promote the campaigns centred on the anime character, in a bid to boost consumption and tourism. HKTB partnered major travel agencies to offer packages that include exhibition tickets, flights and hotel stays. It also worked with online platforms like Klook to offer special packages targeting South-east Asian markets including Singapore, Thailand and Malaysia , where Chiikawa is also gaining some popularity. 'This distinctive phenomenon reflects a broader shift in how Hong Kong positions itself as a soft power hub in the region,' Dr Ip said. 'It isn't just about pop culture. It's part of a strategic recognition that emotional consumer experiences – particularly those anchored in lifestyle, IP, and tourism – are now legitimate economic drivers.' IP refers to intellectual property, intangible creative designs or symbols used in commerce. 'The government understands that traditional economic levers like finance and logistics must now be complemented by cultural and creative industries,' he added. Hong Kong's retail economy has been struggling post-pandemic. Retail sales finally started ticking up only in May, after falling for 14 months straight as tourists spent less and local consumers shopped and dined in Shenzhen instead. 'By supporting or co-branding with IP-led experiences, agencies like HKTB are essentially turning fandom into foot traffic, and foot traffic into economic recovery,' Dr Ip said. AllRightsReserved, the creative brand that designed and organised Hong Kong's Chiikawa Days exhibition, said 30 per cent of visitors to the event are tourists from abroad and that it expects attendance to reach hundreds of thousands by the end of August. Its founder, Mr S.K. Lam , said the exhibition sought to 'blend Chiikawa with iconic Hong Kong culture to create a stronger emotional connection with visitors', which it achieved by featuring the characters alongside Hong Kong's dim sum traditions and against the backdrop of the city's skyline. A fan poses with the dimsum display at the indoor zone of the Chiikawa Days exhibition in Tsim Sha Tsui. She is decked out in merchandise including two bags, hair clip, magic wand and T-shirt. ST PHOTO: MAGDALENE FUNG 'Our aim is to demonstrate how IP can integrate with a city to boost tourism, retail, dining, and the wider cultural economy,' Mr Lam said. Ms Chan, the legal professional , already has a range of Chiikawa collectibles and apparel, and is happy to shell out for more related experiences and merchandise. 'I see shades of myself in the characters, so they mean a lot to me,' she said. 'As a child, I could not afford to collect such items, but as a working adult now, I can.'
