What is evident, at least, is that the Singaporean model of
economic growth inevitably entailed a degree of social discipline
and enforced conformity that is hardly conducive to a vigorous and
innovative artistic scene such as is apparent in other regional
countries, even ones with more overtly authoritarian regimes.
Singapore, nonetheless, has ambitions to be a cultural centre in
the region, as its pretensions to be the economic and scientific
centre are challenged increasingly by the headlong advances of
vastly larger and more resourceful Asian powers. Lee himself
considered in 2000 that it would ‘take another generation before
our arts, culture and social standards can match the First World
infrastructure that we have installed’.16 There is at least no doubt
about the infrastructure.