School of Creative
Industries
Nabillah Sumardi
Nabillah is an active advocate for underground and independent artists in Singapore. She works mainly in the music scene but is also active in visual and performing arts.
Nabillah started out in urban planning, working in the public service sector, before switching careers to music and performing arts management, production and curation.
Through the MA Arts and Cultural Leadership programme at LASALLE, Nabillah has found connections between her earlier work in urban planning and current work in the arts. She hopes to advocate for sustainability in Singapore's ground up cultures through building and strengthening the industry's infrastructure. She believes in the importance of building and conserving spaces for the arts and culture to both grow organically as well as be cultivated.
Work
Research interests
Nabillah's research interests include: cultural hubs, DIY culture in cities, audience development, placemaking
Thesis abstract
Not "just a phase": A study of Singapore's underground music scene as a cultural industry
This thesis is a study of the underground music scene in Singapore, which has conventionally been stigmatised as a scene of radicals, trouble makers and “noisy music”, as well as one from which participants are expected to grow out of as they get older.
Through interviews with 13 participants in the underground music scene, this study reveals the existing characteristics of the underground music scene and argue for its consideration as a distinct cultural industry in Singapore. A generational comparison of actors is used to measure the progress of the scene as it continues to evolve in tandem with the changes in society and technological advancements.
This raises the question if Singapore's underground music scene is truly “just a phase” or in fact an important contribution to the social and cultural aspects of the society. Despite being a scene that does not prioritise monetary exchanges, but instead carries a different form of value, the scene does contribute to the economy. The long-term participation of musicians, studio owners and others in the scene testify to the scene’s endurance and role in the development and professionalisation of Singapore’s larger music industry. Guided by Davies and Sigthorsson’s approach on characteristics of cultural and creative industries, this study offers a change of perspective and gives legitimacy to the underground music scene as part of Singapore’s cultural industries.