David Chan’s National Identity 4.0: Singapore-ness as Art-Object
“Singapore-ness” as an art-object is a complex, evolving construct shaped by the nation’s unique intersection of multiculturalism, pragmatism, and a deeply rooted desire for social cohesion. It reflects a nation still negotiating its identity, balancing between modern global influences and traditional Asian values. Unlike the West’s historical arc through movements and “isms,” Singapore’s artistic sensibility is more attuned to heritage, symbolism, and the aesthetics of harmony, order, and functionality.
Public appeal in Singapore tends to gravitate toward works that are accessible, community-centred, and visually grounded in familiar motifs, HDB blocks, kopitiams, multicultural icons, and language hybrids like Singlish. While the authorities may favour narratives of progress, unity, and sanitised history, the public often embraces art that reflects lived realities, from nostalgia to quiet resistance. Yet there exists a shared space, art that both uplifts and questions, such as tributes to pioneers like the Samsui women, as seen in Sean Dunston’s works. These pieces resonate because they honour resilience without overt politicisation.
The challenge for Singaporean artists lies in walking the tightrope between provocation and preservation. Works that aim to educate must do so with empathy and craft engaging without alienating, questioning without antagonising. As Singapore marks SG60, the search for identity goes beyond clichés like the Merlion or Singlish. While a distinct identity is still crystallising, the arts have a powerful role to play by amplifying diverse voices, preserving the ordinary, and challenging the status quo with care; they can shape what Singapore-ness truly means: fluid, hybrid, and deeply human.
