Latest news with #Nanyin
CNA
03-06-2025
- Business
- CNA
Some arts groups becoming not-for-profit entities to encourage more donations
SINGAPORE: More arts groups in Singapore have been turning into Institutions of Public Character (IPCs) in recent years, which gives tax benefits to their donors. Between 2019 and 2023, the number of arts groups doing so rose from 75 to 88 — a nearly 20 per cent increase, according to the Commissioner of Charities annual reports. IPCs are required to conduct activities that exclusively benefit the local community. This not-for-profit status could spur more donations, said observers. INCREASE IN SUPPORT The Siong Leng Musical Association, for example, applied for IPC status in 2022 after gaining more recognition over the years. The arts group was established in 1941 to preserve and promote Nanyin, an ancient Southern Chinese music form. Siong Leng's donors can receive a 250 per cent tax deduction with its IPC status, making it more appealing to donate to the group. Ms Lim Ming Yi, outreach manager and artist at Siong Leng, said 'Through this, we hope that it opens more doors for us, more opportunities and also helps us establish better credibility and accountability, for existing and future organisations and individuals who may be more inclined to donate to us because of tax deduction benefits.' Since then, the group has seen an estimated 50 per cent increase in support. 'We were able to pull more into our education and outreach initiatives locally and abroad, for overseas exchanges as well,' said Ms Lim. 'Other than that, I think being an IPC company also signals a level of transparency and governance, which can reassure existing and future stakeholders.' But attaining this status is no easy feat. Paper Monkey Theatre, a puppet theatre company, said it had to hire an accountant and a lawyer to meet compliance requirements. These additional services cost around S$20,000 (US$15,500), but such expenses were covered by the Sustain the Arts (stART) Fund by the National Arts Council. Mr Vincent Ong, general manager of the Paper Monkey Theatre, said the council encouraged the company to apply for the IPC status to rebrand itself. 'Before (that), our donation yearly actually came up to only about S$6,000,' he said. 'But ever since we got the status, there (has been) a 200 per cent jump in the donations,' he noted, adding that the IPC status has helped it to attract donations from more corporates. 'So we get probably about S$16,000 to S$18,000 a year of donations, and that has helped us a lot.' GROWING THEIR CRAFT One benefit of being an arts IPC is that organisations with the status can apply for the Cultural Matching Fund (CMF), which gives a dollar-for-dollar boost to receive donations. This gives companies more means to improve and grow their craft, which also translates to more room for creativity. Since 2014, more than S$400 million of the CMF has been disbursed. Yet for the Paper Monkey Theatre, the funds raised may not be enough to sustain yearly programmes. Its costs can go as high as five times its total donations, largely due to maintenance and professional fees. Other IPCs such as Art Outreach Singapore, which focuses on the visual arts, have taken a different approach. It has turned to other means of income such as more commercial projects. While the earnings are not viable for the CMF top-up, they ensure a diverse stream of revenue for its programmes. 'We can hire artists to help paint a mural, help with workshops, help with a brand activation,' said Ms Mae Anderson, chairman of Art Outreach Singapore. 'We get to help artists not just get the work, but help artists professionalise themselves,' she added. 'So I think this is something that is a lot more fruitful for the system where we get a little bit of fee, the artists get the work, and the corporates get to do more with art.' Ms Anderson said she is looking forward to more collaboration and peer learning among arts groups, so they can share best practices and grow stronger together in their journey as IPCs.
Korea Herald
12-05-2025
- Entertainment
- Korea Herald
Food event in China's Xiamen cooks up a taste of Southeast Asia
BEIJING (China Daily) — In gastronomy, spices are more than ingredients — they are storytellers. A dash of cinnamon, a spoonful of chili, a swirl of curry — each holds the power to unlock centuries of trade, tradition and transformation. The fifth season of the hit food documentary Once Upon a Bite turns its lens toward these "magical keys" of flavor, exploring how spices have journeyed across continents, shaped regional cuisines, and left lasting marks on the global food map. This season, the series doesn't stop at storytelling — it steps off the screen and into real life. Launched by Tencent Video and DOClabs Beijing, Once Upon a Bite introduces an immersive offline experience: A Taste of Flavor — Once Upon a Bite | Discovering Xiamen, Encountering Southeast Asia. Why now? As travel and cultural exchange return post-pandemic, people crave real experiences. This offline journey lets them taste the story and connect more deeply with food and place. The event debuted in April in Xiamen, a vital node on the historic Maritime Silk Road and a city known for its rich blend of culture and cuisine in Fujian province. It began in the heart of Xiamen's "eighth market," where 15 local stalls welcomed guests to discover the city's culinary roots. Among the highlights was satay noodles — a local specialty whose soul lies in a rich broth of ground peanuts, sesame, dried shrimp, coconut, garlic, scallions and a medley of spices. It embodies the fusion of Southeast Asian depth with Minnan (southern Fujian) tradition. Visitors gathered around tea tables, savoring dishes while watching their preparation up close. Vendors shared stories behind the recipes, and live performances of glove puppetry and Nanyin music added cultural texture to the flavorful journey. "Spices are not just condiments — they're cultural connectors," says tourism scholar Peng Jun. "They reflect the warmth and openness of Xiamen as a migrant city and serve as a unique signature of Chinese cuisine in the world. "Since the Tang Dynasty (618-907), people have come to Xiamen at different times, but finding a taste of home here has never depended on when they arrived. "The city's rich diversity of spices speaks to its endless possibilities — everyone who comes to Xiamen finds their own unique flavor of the city." To bring the story full circle, several products featured in the documentary are now available to the public. Cheuk Yuet . Queen, a Southeast Asian-style restaurant in Xiamen has launched the turtle-shaped peanut cake seen in the documentary, and new condiments, including sambal chili sauces made from five regional Chinese chilies and five varieties of tropical-style curry sauces, are now sold online. "We've always treated Once Upon a Bite as a growing IP," says producer Zhu Lexian. "Expanding beyond the screen is our way of turning stories into experiences — and this is just the beginning."
