Spotlight on Yvonne Tham

Can you tell us a little bit about yourself? Where are you from, where are you based now, and what is your current position?

I’m currently working as the CEO of Esplanade – Theatres on the Bay, Singapore’s national performing arts centre. Prior to this, a large part of my working life was in various government organisations, developing and implementing policies and initiatives mostly in the areas of the arts, culture, and creative industries. My personal background is in literature – and I am an old-fashioned reader and maker of physical books.

2. You worked at the Esplanade for a number of years before becoming the CEO. Could you please share with us the most substantial changes or initiatives you implemented during your time as Esplanade–Theatres on the Bay's CEO?

I joined Esplanade in 2014 as the Assistant Chief Executive Officer. The CEO then is no stranger to the ISPA community – Benson Puah, a past ISPA Chairperson!  Benson retired in August 2018, having built a solid foundation for an arts center – and that’s when I took over the role. 

One of the key things I continued working with the team to develop is exploring the social impact of the arts – in partnership with schools, teaching artists and community arts practitioners, as well as the social sector. These initiatives with artists look at the impact of the arts with vulnerable youths, isolated seniors, migrant workers, and women in crisis. We’re now in the midst of seeding more research and documentation of such projects, and starting classes to share the knowledge and practices with a wider pool of artists and social sector workers.  And while inclusion is at the heart of Esplanade’s vision as “the performing arts centre for everyone,” in recent years we’ve tried to look not only through financial and other demographic lenses, but to “catch up” in creating a more welcoming environment for audiences and artists of diverse abilities.

Another area that I am passionate about is the role of the arts in Singapore’s creative future(s), and hopefully in exploring this, connecting the arts to the next generation of artists and audiences. Many of these issues are not unique to Singapore.

The first obvious one is technology and the accelerated digitalisation of everyday life. Esplanade’s digital transformation journey started probably in 2016, and we are still learning. Esplanade Offstage will expand beyond containing podcasts, videos and docu-series, essays, and educational resources. In the coming years, we are looking to enabling curated access to Esplanade’s extensive digital archives. All our performing venues are undergoing a major digital infrastructure revamp over the next three years. And just this year, Esplanade, with Singapore’s National Arts Council, have opened up more opportunities for artsXtech lab processes.

The second obvious issue is climate change. We have made a commitment over the next few years to make a series of changes to both our building and our operational practices that affect waste management, water and energy harvesting, and consumption. We are re-examining our approach towards travel and artist riders, and are starting to speak with artists keen to explore more climate responsible ways of making productions.

A third issue for the arts in a small city-state like Singapore, in an increasing complex and divisive world, is how inter-cultural and regionally collaborative artistic work can slowly but surely articulate a different future than the current reality of war and protectionism. It helps that Esplanade and Singapore are located in the heart of a dynamic, very exciting and diverse region.  We have been making new work with arts centres and artists in the Asia-pacific region, and leading or participating in these multilateral commissions is invigorating for the programming team. Two years ago, we also launched an International Residency for performing arts research. My colleagues did this, recognising that not all conversations and processes need necessarily lead to a production.

I can go on and on about the social, regional, climate, and technological opportunities for the arts and Esplanade. Of course, the elephant in the room is who will invest in these efforts, however necessary or exciting it seems to all of us arts workers! So as CEO, given a challenging economic and funding climate, a large part of my work is about identifying and reaching out to the partners, allies, supporters in industries and communities beyond the arts – to build more lasting connections. It is especially so in Singapore’s context where philanthropic giving at all levels to areas like education, poverty alleviation, and healthcare are significant and well-established, and rightly so, but giving to the arts and culture is still nascent.

3. What should we know about the artistic landscape in Singapore?

For a city-state with a resident population of only 5.5 million, Singapore’s artistic landscape is truly diverse. In part it reflects the historical diversity of our migrant society and our location in the heart of Asia. But it is also a reflection of how open our society and economy are to the world. For instance, if you visit Esplanade on a buzzy weekend, you may encounter a classical Indian dance performance in the theatre studio, an Indonesian performance artist in our visual arts gallery, a visiting Japanese metal band in our livehouse-style Annexe Studio, a contemporary dance performance at our mid-sized theatre, the Singapore Symphony Orchestra playing in our concert hall, a duo singing Chinese popular tunes from the 1960s at our open Concourse Stage, and a young Singapore bedroom-pop band on our Outdoor Theatre stage.

4. As a long-time ISPA member and a member of the Planning Committee for the upcoming New York '24 ISPA Congress, January 9 – 11, can you share how does your perspective influence the upcoming program, and what you are looking to focus on in the 75th anniversary year?

Turning 75 for ISPA is very much about celebrating the legacy of international conversation in the arts, but the more urgent matter is of the future, including the future of what it means for arts professionals from around the world to gather together. This is especially urgent given the pace at which the world is moving, changing. So as best as I can, I support suggestions from the ISPA team that seem to break from “the norm” of a conference; allow for different modes of conversations and experiences; and reflect on how it may be for participants who have not been “regulars” at the ISPA-NY sessions. I try also to put myself in the shoes of younger colleagues, to ask whether they will potentially find inspiration through the programme.

5. Based on your experience, what is one piece of advice you would recommend to emerging arts professionals?

The impact arts workers make on our communities, society, and the world is often shaping what is of value and meaning over time the enduring qualities of humanity are best expressed and realised in the arts. So, to emerging arts professionals–don’t give up. The impact or reward of your work may not always be immediate, but it is discovering what endures over time for yourself and others!