Nanyang Collective: Finding Our Unique Voice

with Dedric Wong,
Music Director of the Nanyang Collective
Resident Conductor of the Ding Yi Music Company
Music Director of the Asian Cultural Symphony Orchestra

What does it mean to be a leader in your field, pioneering paths to uncharted worlds, trudging through tribulations while finding the courage to write your chapter? As a relatively young nation finding its way, Singapore gives its people opportunities to plant their flags amidst rapid evolution. Though our story is yet to be fully woven, threads of the Singaporean identity have crystalised over the decades, across the country’s cultural pluralism and all facets of society – from food to sports, religion to the arts.

This includes the Nanyang Style, which has become synonymous with the discourse towards a uniquely Singaporean artistic identity. In the paper The Emergence of The Nanyang Style and Its Role in the Regionalism of ASEAN Countries written by Ek Kay Chua in 1997, Chua stated that “the concept of a local aesthetic was first discussed during the 1930s by a group of Chinese artists” who left China to settle in Singapore. He added that “Mr. Lim Hak Tai, the leader of these artists, established Nanyang Academy of Fine Arts (NAFA) in 1938… to shaping the modern art of Singapore. The terms Nanyang Style and Nanyang artist have since gained wide acceptance and usage.” More pertinently, Chua mentioned that “NAFA had initiated the practice of nurturing the local art of Singapore rather than importing arts and craftsmanship from elsewhere.”

Since the Nanyang Style was established more than eight decades ago, how have modern artists championed this identity and incorporated its spirit in diverse arts practice? We speak to School of Music alumnus, Dedric Wong, Music Director of the Nanyang Collective, to gain insights on how this Style has shaped his choice of composition and performance, and his perspective on this distinctive sound.

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1. How did the Nanyang Collective come about?
   
   The Nanyang Collective was formed in 2021, when producer Sherman Lee and I were thinking of forming an ensemble that has a unique instrumentation which focuses on new compositions and music. The Collective, which comprises a plethora of Asian ethnic and Western instruments, aims to embody a contemporary soundscape that is uniquely Singaporean. Back then, the Government's COVID support package and the Self-Employed Persons (SEP) Grant, kick started this effort. The grant enabled us to create a project, stay relevant in artmaking during the pandemic, and also remunerate and support to our musicians during challenging times.
   
   In 2022, we staged our first concert, Project 2020, an introspection of the pandemic. Coincidentally, the Collective includes NAFA alumni such as Chua Yew Kok (Young Artist Award recipient), Lim Chin Huat (Young Artist Award recipient), Jacky Ng, Eugene Toh, Ng Wei Ping, Sherman Lee, me, and a few others.
   
   
   

   “Both the Nanyang Style and Southeast Asian Dimension give Singaporeans a platform to establish and grow our shared cultural identity in a modern context.”



2. What does the Nanyang Collective aim to achieve and define for future generations?
   
   We take bold (but small) steps to integrate ethnic musicians in our performances, which helps to traverse boundaries in the ethnic music scene. I hope that through these music performances, we give audiences a sensorially provocative and emotional lens to approach different topics/themes surrounding humanity.
   
   It is our duty to do our very best to create new music with a Southeast Asian sound, pushing boundaries for artistic excellence -- to set a good precedence and model for those who come after us. Being resilient during the pandemic and having the courage to push our artistic boundaries remain core to our motivation. To all musicians out there: dream bigger, be brave, and be confident!
   
   

   “We take bold (but small) steps to integrate ethnic musicians in our performances, which helps to traverse boundaries in the ethnic music scene. I hope that through these music performances, we give audiences a sensorially provocative and emotional lens to approach different topics/themes surrounding humanity.”




3. Why is the Nanyang Style and a Southeast Asian Dimension important for our cultural identity in the modern era?
   
   Singapore's diverse cultural society makes us special and unique; our ethnic instruments are metaphors for our different heartfelt voices as Singaporeans. Through music making efforts and putting these instruments together, it is an experimental process in breaking boundaries.
   
   Both the Nanyang Style and Southeast Asian Dimension give Singaporeans a platform to establish and grow our shared cultural identity in a modern context.
   
   To add, the arts, culture and heritage of Southeast Asia are rich in opportunities for us to explore; therefore, it is my dream to pioneer and champion new types of music in this area. I believe that through meaningful collaborations, we can build a holistic ecosystem for the Singapore arts scene to grow and excel.
   
   
   

   “Understanding theoretical concepts is only part of the learning process; educating us with a hands-on approach and providing opportunities during our studies to experiment on various skill sets gave us a comprehensive learning journey.”



4. How has your education at NAFA influence the way you work, perform, and create?
   
   Holistic education in NAFA was a key takeaway for me. As “more-than-music" musicians, we needed to put on our creative caps, and also wear multiple hats in areas such as marketing, production, and programming.
   
   For artists, critical thinking is essential. NAFA has equipped us with different skill sets to be industry-ready and relevant for the global arts scene. Understanding theoretical concepts was only part of the learning process; educating us with a hands-on approach and providing opportunities during our studies to experiment on various skill sets gave us a comprehensive learning journey..