Queer Representation in the Arts Faces Ongoing Challenges Despite Growing Acceptance
Singapore has made strides in becoming less openly homophobic, but when it comes to queer art in public spaces, there’s still a long way to go before the country can genuinely claim to accept the LGBTQ+ community. The recent clashes between TODAY and the National Arts Council (NAC) over comments made by its CEO about LGBTQ+ art, as well as the removal of a queer song from a public music festival, highlight the ongoing discomfort surrounding the issue.
While millennials and Gen Zers are more accepting of queer individuals, outright homophobia is now generally considered unacceptable, yet many of the nation’s political leaders, regardless of party affiliation, have carefully avoided taking an explicit stand in favor of the LGBTQ+ community. Even after the repeal of Section 377A in 2022, there was little momentum toward normalizing LGBTQ+ acceptance. Instead, a proposed constitutional amendment to define marriage as between a man and a woman showed that traditional (heteronormative) family values still hold sway.
The Controversy Surrounding Queer Art
Recent events have demonstrated that there remains a widespread discomfort with LGBTQ+ issues. Take, for instance, the kerfuffle between TODAY and NAC CEO Low Eng Teong, which occurred at an arts event hosted by Nanyang Technological University Centre for Contemporary Art (NTU CCA). One of the performances featured “Queer-tai,” a queer take on traditional getai shows. When a TODAY journalist asked Low about queer art in public spaces, his response seemed to dodge the question, offering vague remarks instead of directly engaging with the issue of LGBTQ+ art.
Following the interview, TODAY published an article with the headline “LGBTQ-themed arts performances in public spaces in line with the times: National Arts Council Chief,” which was later amended after NAC issued two clarifications stating that Low had not specifically addressed LGBTQ+ issues. The headline was revised to suggest the opinion had come from the arts community rather than the NAC chief himself.
This exchange not only demonstrated the sensitivity around the subject of queer art in Singapore but also triggered the Streisand Effect, drawing even more attention to the “Queer-tai” performance, which NTU later decided should not have been held in public due to its “sensitivities.”
When Queer Love Is Seen as ‘Mature Content’
Shortly after this incident, another controversy emerged involving the removal of a queer song from the setlist at the District M music festival. Singer-songwriter Raine Chiew claimed that her song “Melt,” which alluded to same-sex attraction, was flagged by the Infocomm Media Development Authority (IMDA) and removed for exceeding the General rating due to its LGBTQ+ themes. Other artists, such as Marian Carmel, Rene Ann Wong, and Lewloh, faced similar issues despite none of the songs containing vulgarity or violence.
IMDA, however, denied removing songs and clarified that the event had been rated Advisory, not General, due to “Mature Content.” According to IMDA’s regulations, any content that touches on “alternative sexualities” triggers a higher advisory rating. These rules effectively categorize queer art as “mature content,” even when the work is otherwise inoffensive, simply because it represents LGBTQ+ themes.
The Limits of Representation
While queer art and content are not outright banned in Singapore, the current regulations restrict who can engage with them. These limitations contribute to a lack of LGBTQ+ representation and normalization in public spaces and media. However, with the internet providing easy access to queer content, younger Singaporeans continue to engage with it, even if it’s officially marginalized.
The reality is that the regulatory system, while claiming to protect public sensibilities, ends up stifling the representation of LGBTQ+ stories. In fact, negative portrayals of LGBTQ+ people often face less scrutiny than positive depictions. For instance, the Disney-Pixar film Lightyear, which includes a kiss between two women, was rated NC16, while The Shape of Water—which involves inter-species romance—was rated M18 despite being more sexually explicit.
The fact that queer love is treated as more dangerous to social norms than other forms of unconventional love is a troubling aspect of the current rating system. The ongoing censorship of positive LGBTQ+ representations is not just a matter of regulatory overreach, but a reflection of deeper societal discomfort that still limits the visibility and acceptance of LGBTQ+ individuals in public spaces.
Room for Change
As LGBTQ+ acceptance continues to grow, it’s essential that the public space and media evolve to reflect this shift. Queer artists should be allowed to tell their stories freely, without fear of censorship or marginalization. The arts should be a space that welcomes diversity, not one that relegates LGBTQ+ content to “mature” categories due to social conservatism.
Perhaps, as NAC’s chief suggests, artists should be allowed to create work that speaks to the times. It’s time for our regulations to catch up with our society.
