SINGAPORE: As Singapore’s live comedy scene continues to grow in popularity, the regulations that govern it have been in the spotlight in recent weeks.
Last month, American comedian Sammy Obeid claimed his Singapore shows had been cancelled due to factors like censorship.
But the authorities said his allegations were “inaccurate” and that his licence application was rejected because it was submitted 10 working days before the show – 30 days later than required. The cancellation had nothing to do with content, they added.
He was issued a correction order under the Protection from Online Falsehoods and Manipulation Act (POFMA).
The incident raised questions about how arts entertainment licensing works in Singapore, especially for unscripted formats like stand-up comedy, as well as the challenges performers face.
Some industry veterans said they tread carefully around sensitive issues pertaining to race and religion.
Popular veteran entertainer Kumar, known for his raunchy comedy acts, said decades of experience have taught him to “censor myself”.
“I know what can and what cannot be said. I know that if you cannot say, don't say – because I don't want to get in trouble after all these years, right? So I sort of walk on the safe ground or walk on a fence,” he told CNA’s Deep Dive podcast.
“So … I don't go too deep into it. Maybe touch and go.”
Heazry Salim, co-founder of The Comedy Club Asia, said foreign performers doing shows in Singapore may not be as aware of the grey areas as local comedians are, but they already self-censor to some degree.
For instance, he noted religious jokes are not really made as “you have to be really funny” to attempt them.
“They know about politics as well. They don't really touch politics because they don't know enough of Singapore politics in that sense,” he added.
“There might be an (offhand) remark here and there, but they generally have their own set which they strictly keep to.”
In order for the authorities to approve a stand-up comedy show, applicants have to submit their application online for an arts entertainment licence from the Infocomm Media Development Authority (IMDA) at least 40 working days before the event.
The licence also covers plays, dance and music performances, art exhibitions, and literary readings.
Heazry noted that there are two main parts to the application, including a content checklist where the performer checks ‘yes’ or ‘no’ to what they will be performing, such as racial or sexual jokes or profanities.
“Are there topics that promote alternative lifestyles, like fetishes and all that? Is there nudity on stage?” Heazry added.
The other main part involves comedians stating their talking points.
“For Kumar, for example, I’ll list out five things he wants to talk about. Like, Kumar will talk about relationships, so there’s a premise, and then the setup or the story is (like this),” Heazry said.
Even for point-form jokes, the authorities will occasionally want performers to elaborate on it, Kumar added.
“If you do something wrong (during a performance), then they will ask you to come down (for a chat). If you say something on stage that (you are) not supposed to say, then you have to come down, and they might even fine you or something,” he said.
“I don’t speak vulgarities so I don’t say parts of the body, so I’m on safe ground because I am just more innuendos. But if you say the F word so much, I think there will be a control.”
Similarly, to get a licence, theatre practitioners will have to share the script of their play.
This came under scrutiny in June when a performance by local theatre company Wild Rice was banned for undermining anti-drug policy, after IMDA assessed its revised script for a dramatised reading was in breach of the Arts Entertainment Classification Code.
Wild Rice said the play does not glamorise drug abuse.
Arts entertainment performances are also subject to four classification ratings: General, Advisory, Advisory 16, and Restricted 18 (R18). This affects how much comedians can say and how closely their content is scrutinised.
The R18 rating is the only one where age restrictions must be imposed by the licensees or organisers.
Kumar said he always rates his shows R18, given that using Advisory 16 can get a comedian into more trouble because of the content of the show.
“I don't risk it, because people know what I do. People want to come and hear that, so you just put yourself R18,” he added.
A legend in Singapore's entertainment scene, Kumar's popularity in the region has risen in recent years after clips of his past stand-up acts went viral on video-sharing sites such as TikTok and YouTube.
Heazry said he has not received much pushback from the authorities over the applications he submits for comedians, though they do go off-script at times.
When The Comedy Club Asia brings in foreign comedians, Hearzy said he tells them they have 20 to 25 minutes on stage, which covers about five jokes.
He asks them what their premise and setup is, which will be submitted as a talking point in their application to IMDA.
“I think in the early days, there were a couple of times we did send in (the application) late. They called us in and said: ‘Hey, look, you know, you can't send it too late’,” Heazry said.
Performers should avoid this by sending their script to the authorities earlier than the 40-day deadline, noted Kumar.
As for whether there is room to push the envelope further, Kumar said he is “very happy” because “I already pushed it”.
“I get to say more things than before, because people in 1992 - people were very conservative. Now, people are a bit more open because they're all knowledgeable, well travelled. They like to laugh. So you can push the boundaries a bit, but also censor yourself,” he added.
“If people are very sensitive, they shouldn't come and watch because it’s a laugh the whole night. If you are on the attack, like you’re offended, don't go and watch. Don't sit there, later grumble: ‘Oh, you should apologise to me. I'm like, ‘Hello, then don't come’.”
Heazry concurred, saying censoring anything is more difficult these days because everyone is on social media.
He added that shows brought in by The Comedy Club Asia, which began operations in 2009 and has brought in numerous international acts, do not “hold back anything”.
“We’ve never had any issues as well. I guess the only dangerous thing is if someone complains – so far, we haven't had any complaints.”
When asked if anything can be done to improve the comedy scene in Singapore, Kumar said that some form of control is always needed, adding he thinks IMDA “is doing a great job”.
“I think we need to have this. We need to have a department that controls the script (or) it will blow out of proportion, and then everyone will end up in a protest,” he added.
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Last month, American comedian Sammy Obeid claimed his Singapore shows had been cancelled due to factors like censorship.
But the authorities said his allegations were “inaccurate” and that his licence application was rejected because it was submitted 10 working days before the show – 30 days later than required. The cancellation had nothing to do with content, they added.
He was issued a correction order under the Protection from Online Falsehoods and Manipulation Act (POFMA).
The incident raised questions about how arts entertainment licensing works in Singapore, especially for unscripted formats like stand-up comedy, as well as the challenges performers face.
Some industry veterans said they tread carefully around sensitive issues pertaining to race and religion.
Popular veteran entertainer Kumar, known for his raunchy comedy acts, said decades of experience have taught him to “censor myself”.
“I know what can and what cannot be said. I know that if you cannot say, don't say – because I don't want to get in trouble after all these years, right? So I sort of walk on the safe ground or walk on a fence,” he told CNA’s Deep Dive podcast.
“So … I don't go too deep into it. Maybe touch and go.”
Heazry Salim, co-founder of The Comedy Club Asia, said foreign performers doing shows in Singapore may not be as aware of the grey areas as local comedians are, but they already self-censor to some degree.
For instance, he noted religious jokes are not really made as “you have to be really funny” to attempt them.
“They know about politics as well. They don't really touch politics because they don't know enough of Singapore politics in that sense,” he added.
“There might be an (offhand) remark here and there, but they generally have their own set which they strictly keep to.”
Related:
THE LICENSING PROCESS
In order for the authorities to approve a stand-up comedy show, applicants have to submit their application online for an arts entertainment licence from the Infocomm Media Development Authority (IMDA) at least 40 working days before the event.
The licence also covers plays, dance and music performances, art exhibitions, and literary readings.
Heazry noted that there are two main parts to the application, including a content checklist where the performer checks ‘yes’ or ‘no’ to what they will be performing, such as racial or sexual jokes or profanities.
“Are there topics that promote alternative lifestyles, like fetishes and all that? Is there nudity on stage?” Heazry added.
The other main part involves comedians stating their talking points.
“For Kumar, for example, I’ll list out five things he wants to talk about. Like, Kumar will talk about relationships, so there’s a premise, and then the setup or the story is (like this),” Heazry said.
Even for point-form jokes, the authorities will occasionally want performers to elaborate on it, Kumar added.
“If you do something wrong (during a performance), then they will ask you to come down (for a chat). If you say something on stage that (you are) not supposed to say, then you have to come down, and they might even fine you or something,” he said.
“I don’t speak vulgarities so I don’t say parts of the body, so I’m on safe ground because I am just more innuendos. But if you say the F word so much, I think there will be a control.”
Similarly, to get a licence, theatre practitioners will have to share the script of their play.
This came under scrutiny in June when a performance by local theatre company Wild Rice was banned for undermining anti-drug policy, after IMDA assessed its revised script for a dramatised reading was in breach of the Arts Entertainment Classification Code.
Wild Rice said the play does not glamorise drug abuse.
Related:
CLASSIFICATION RATINGS
Arts entertainment performances are also subject to four classification ratings: General, Advisory, Advisory 16, and Restricted 18 (R18). This affects how much comedians can say and how closely their content is scrutinised.
The R18 rating is the only one where age restrictions must be imposed by the licensees or organisers.
Kumar said he always rates his shows R18, given that using Advisory 16 can get a comedian into more trouble because of the content of the show.
“I don't risk it, because people know what I do. People want to come and hear that, so you just put yourself R18,” he added.
A legend in Singapore's entertainment scene, Kumar's popularity in the region has risen in recent years after clips of his past stand-up acts went viral on video-sharing sites such as TikTok and YouTube.
Heazry said he has not received much pushback from the authorities over the applications he submits for comedians, though they do go off-script at times.
When The Comedy Club Asia brings in foreign comedians, Hearzy said he tells them they have 20 to 25 minutes on stage, which covers about five jokes.
He asks them what their premise and setup is, which will be submitted as a talking point in their application to IMDA.
“I think in the early days, there were a couple of times we did send in (the application) late. They called us in and said: ‘Hey, look, you know, you can't send it too late’,” Heazry said.
Performers should avoid this by sending their script to the authorities earlier than the 40-day deadline, noted Kumar.
Related:
IS THE COMEDY SCENE DIFFERENT NOW?
As for whether there is room to push the envelope further, Kumar said he is “very happy” because “I already pushed it”.
“I get to say more things than before, because people in 1992 - people were very conservative. Now, people are a bit more open because they're all knowledgeable, well travelled. They like to laugh. So you can push the boundaries a bit, but also censor yourself,” he added.
“If people are very sensitive, they shouldn't come and watch because it’s a laugh the whole night. If you are on the attack, like you’re offended, don't go and watch. Don't sit there, later grumble: ‘Oh, you should apologise to me. I'm like, ‘Hello, then don't come’.”
Heazry concurred, saying censoring anything is more difficult these days because everyone is on social media.
He added that shows brought in by The Comedy Club Asia, which began operations in 2009 and has brought in numerous international acts, do not “hold back anything”.
“We’ve never had any issues as well. I guess the only dangerous thing is if someone complains – so far, we haven't had any complaints.”
When asked if anything can be done to improve the comedy scene in Singapore, Kumar said that some form of control is always needed, adding he thinks IMDA “is doing a great job”.
“I think we need to have this. We need to have a department that controls the script (or) it will blow out of proportion, and then everyone will end up in a protest,” he added.
Continue reading...