Freshly transitioning from data analytics to the arts, Jasmine has been actively involved in various projects, from visual arts to music. Her interests include alternative modes of operation, artistic creation, and presentation, as well as community-based resource gathering and sharing. She is an emerging producer and currently studying BA(Hons) Arts Management at LASALLE College of the Arts.

Q: Understanding that you were studying Information Systems at Singapore Management University (SMU), how did the drastic shift to the arts happen?

Actually looking back, I don’t think my transition into the arts was as drastic as it might seem. When I was at SMU, I was also doing Arts and Culture Management as a second major. To be honest, I didn’t have much of a concept of what management in the arts meant or could mean. Back then, I just still wanted to do something related to the arts while pursuing an idea of ‘stability’ that was often associated with my first major in Information Systems. 

When I was approaching the end of my second year at SMU, the only thing everyone around me would talk about was Summer Internship. It was normal to be applying to more than 50 companies and not get a reply, or face a constant slew of rejection emails. Of course, I felt the pressure to be keeping up with that too. I applied to MNCs, SMEs, startups - whatever you can name, I have applied to… I went for interviews and got offered a few positions. The feeling of being enveloped by the rat race did not feel right at all. But this time round, I chose to trust my gut and decided to not do an internship for Summer. It was a very risky decision, considering all my peers were doing so much to boost their CVs for full-time employment after graduation. 

Instead, I did a part-time job to get by and chose to spend more time with myself during Summer. It turned out to be the best decision I have made because it led to a chain of decisions that would lead me to where I am today - an independent producer / project manager and studying Arts Management at LASALLE College of the Arts. 

After Summer ended and it was time to go back to school, the gut feeling that something was wrong got even stronger. When I brought up the idea of leaving SMU to my family and friends, I got a mix of reactions of “But you have already completed 2 years in SMU, why waste it now?” and “If you believe that there is something better for you out there, just leave now!”. 

It was a very intense phase of mental struggle - should I stay or should I go? And if I leave now, where do I go? At that time, I only had my Diploma in Big Data and experiences in data analytics projects to fall back on. I was aware that I did not have formal training in anything else, but I also knew my time at SMU was due. The culture, teaching methods, and learning goals were not aligned with me at all. Even if I stayed on, it would most probably result in a great deal of unhappiness that would affect my performance as a student and eventually, my employability. 

Before I made the final call to withdraw from SMU, I did thorough research and mapped out routes I could take. I eventually settled on doing the SkillsFuture Work-Study Programme and working as a Big Data Analyst. It made the most sense financially and I could still wiggle some time for my arts projects after working hours. Alas, the plan fell through after 5 months. It took such a huge toll on me emotionally from the working culture, and difference in values and interests. 

During my last month of work, it was almost like a sign from the universe that a Facebook advertisement about LASALLE’s Open House popped up. And wow, something in me just clicked when I saw the advertisement! All the pressure to have a ‘stable’ job was gone and I realised I could do the arts too! I immediately applied for the Arts Management programme and submitted my resignation letter to my company. 

I was eventually accepted into the programme and since then, it was almost like a manifestation coming true, or I guess Law of Attraction, where producer / project management jobs came streaming in. I have been very blessed with all the job / project offers and to be able to make a living doing what I love and am passionate about. I am now juggling school with a bunch of projects and it can get quite hectic on some weeks, but I would not have it any other way!

Q: You have a very interesting niche - the arts and data analytics. Have you thought about the possibilities of the crossovers?

Many people still ask me that and I used to struggle with that perception or curiosity people had of me. It felt like I had to ‘make use of my niche knowledge base to benefit the arts’, that I have to be some sort of data-arts weaver and analyse the arts or something. 

I just wanted some time to internalise the crazy rollercoaster I just got out of and just be - to explore the many facets of the arts and arts management before even thinking about a niche of my own. After all, I did just come out of an environment that I felt so misaligned with. I did not want anything to do with data. 

In coping with the pressure, I have learnt to say “I don’t have an answer” or “I have not thought about this topic deep enough yet” when I don’t have a confident answer. I think a lot of the time, we feel the need to give an answer when we are asked a question, and I am actively unlearning that mode of behaviour. I think in rejecting giving a diplomatic or shallow answer, it helps to return the power to myself. I feel more in charge of my life decisions and thoughts. 

Now that I’ve had some time to work on some projects and think about the crossovers of my knowledge bases, I am coming to terms with it. When I was working on The Self-Compassion Lab with Artwave Studio, I was initially engaged to take on marketing and engagement duties. But they also had an idea of creating a data story on the future of work for creatives, which really intrigued me so I asked if I could get more involved with that too. 

Working on the data story revitalised my love of data. I realised it wasn’t data or analytics that tired me but whom and what it was for. In past data projects, I have always taken on a consultancy role for a wide range of sectors. It was always about gaining as much domain knowledge as fast as possible to be able to complete the project as effectively as possible - and mostly in sectors that I do not care as much for. 

Reflecting on this now makes me realise that the years spent in data analytics were not a waste to my current involvement in the arts. It’s a beautiful thing to be engaged in such different aspects and to be able to bring them all together. And I’m going to say that I don’t have a specific idea of what this crossover could look like but I think data collection in the arts could be a good place to start. Given the large base of freelancers and the lack of formal frameworks and workplace settings, data on fuller views of the arts can be limited and extremely biased. I hope to work on something that shines light on how extensive the network of arts practitioners is (freelance and otherwise), and demonstrate how important data is in understanding a truer view of the landscape and its people. 

Q: Do you have any advice for someone who is also thinking of changing their trajectory to the arts?

By choosing to be in the arts, you are choosing to play Life in hard mode. If you are doing it for the money, I’d say you have a way better luck somewhere else. Maybe listening to the condensed version of my story makes it seem like it wasn’t difficult, but there were years of ground work being put in before the decision to study Arts Management at LASALLE. 

Firstly, I think volunteering helps in understanding what it is like on the ground, and understanding the landscape and its audiences. Also, you can start by working on small low-risk roles in projects. It can help you to stay in touch with your practice without a heavy commitment, and meeting people who are aligned with you. Lastly, it’s important to put yourself out there beyond a passive audience member but as a producer / arts manager who is looking for collaboration opportunities. I would go to exhibitions or sharings alone, and just talk to people. It can be daunting alone but it gives you the flexibility in engaging with people, or just leave if not. This was how I met artist Nathan Tan and got to produce for Blue Imprint: FEEDfragileBACK. 

To be honest, I still get kind of nervous going to these events alone sometimes. But hey if you see me around, say hi to me too! Always happy to make new friends!

Q: What can we look forward to from you next?

I’m currently still working on The Self-Compassion Lab with Artwave Studio, and the data story I mentioned will be coming to life in December. It is an ongoing survey that will close at the end of November. You can also contribute to the data story by sharing about yourself as a young creative in the survey here. We will also have a pop-up at Somerfest from 25th November to 4th December 2022. 

I also recently joined Big Duck Music as Project Manager. We’re an independent gig promoter, that aims to be a genre-agnostic champion and present Singaporean music audiences with showcases of unique, niche acts in independent music around Southeast Asia and beyond. We are in the midst of restrategising but we have some gigs planned out in the upcoming year, do look out for them and follow us on Instagram (@bigduckpteltd) to be updated! 

Shoutout

I have been very blessed with the people I worked with. I am so grateful, especially for Cui, Sze Min from Artwave Studio, and Faye and Bernice from Rolypoly Family. They have played a huge part in helping me feel safe enough to be less afraid, to make mistakes, to fail and learn. It is so important to work with people who are nurturing and open, and willing to call you out when you make mistakes. I am much more confident in my abilities as a producer / project manager now, and I am excited to meet more producers and artists alike!

Interview by: Pearlyn Tay