SINGAPORE: Prominent Singaporean busker Jonathan Goh has raised concerns over the National Arts Council’s (NAC) approval process for granting busking permits, revealing that he has highlighted alternative methods to the Government agency for years to no avail.
A significant part of Singapore’s arts and culture scene, busking is regulated by the NAC – a statutory board under the Ministry of Culture, Community and Youth (MCCY) – to ensure that performances are safe, orderly, and of a certain standard. The NAC has implemented a licensing system for buskers, and individuals or groups who wish to busk in Singapore must apply for a Busking License from the NAC.
Pertinent questions about whether the NAC’s busking permit process is outdated have arisen online after Mr Goh expressed concerns about the authority’s audition requirements and appealed for a more streamlined approach to assessing street performance skills.
One of the island’s better-known buskers, Mr Goh, has been busking for almost ten years since 2014. He has been invited to perform at various local and international festivals and is honoured to be the only Singaporean street act in London’s Covent Garden.
In a Facebook post published on Thursday (13 Apr), Mr Goh said that he had to spend almost $2,000 to return to Singapore and renew his busking permit, given the NAC’s recent change to the validity of busking permits.
In the past, the permit was valid for two years for experienced buskers, but the NAC changed it to a one-year validity for everyone after pandemic-induced restrictions on busking were lifted last year.
In addition to the shorter validity period, Mr Goh also questioned the audition process he and other experienced buskers must go through. He revealed that the audition is held in the National Library Building, unlike the street environment where buskers perform.
Mr Goh registered concerns about the panel of judges who assess the street performance skills of buskers, as they are hired by the NAC but are not visible in the street and may not have the necessary understanding of the crowd control, gathering, and engagement skills that are required for busking.
Despite how experienced he is, Mr Goh has to go through the mandatory 5-minute busking permit audition in person, now yearly, to be allowed to busk.
Mr Goh questioned why the busking audition process differs from the processes like applying for scholarships or grants from the NAC, where a portfolio of works can be submitted, and interviews can be done online.
Calling the current approval process outdated, Mr Goh said he had highlighted other ways to assess someone’s street performance skills, such as the Melbourne busking scheme, to the NAC for years. Despite this, the process here remains unchanged.
Mr Goh said, “If things continue as they are, it will only become more challenging for me to busk in Singapore, and I may need to bring my craft elsewhere. Don’t get me wrong; I am proud to be a Singaporean and being the only Singaporean street act in London Covent Garden I’m always proud to share that I am a street performer from Singapore.”
He added, “The audience in Singapore is the most appreciative and supportive. However, the issue lies with the people administering the busking permit process, which seems outdated.”
While the NAC has yet to respond to Mr Goh’s concerns, the Singaporean’s appeal for a more efficient busking permit process that considers the experience and skills of seasoned buskers like himself has resonated with many in the arts community.
As the conversation around busking in Singapore continues, whether changes will be made to address the concerns raised by Mr Goh and other buskers who have contributed significantly to Singapore’s vibrant arts scene remains to be seen.