In an era defined by global migration and digital mediation, the question of how to foster genuine social cohesion within diverse populations presents a complex curatorial challenge. Nations like Singapore, with a rich tapestry of intertwined cultures, histories, and identities, often grapple with the dichotomy between official narratives of unity and the lived, multifaceted realities of their citizens. How can a shared cultural heritage be articulated when it is composed of countless individual, personal stories? This was the central inquiry that propelled the Arts Management Programme to conceive and execute the VR Project “Echoes of the Bay”, a unique initiative specifically designed to commemorate Singapore's 60th year of Independence that reimagines archival practice and community engagement through immersive VR technology.

Moving beyond traditional ethnographic methods, the project proposed a novel conceptual framework: the construction of a virtual nation-space as a metaphor for the collective. To mark a significant national anniversary, the project team designed an immersive virtual reality environment—a serene island surrounded by sixty digitally rendered boats, each one a unique vessel carrying a personal narrative of belonging, migration, or memory. This was not conceived as a mere exhibition, but as a co-created cultural archive, where the act of curation was decentralized and returned to the community itself. The participants became the authors, artists, and primary stakeholders of their own cultural representation. The project garnered support from such local organisations as Singapore Poetry Festival, Checkpoint Theatre and the Project Broken Barges as well as received funding from the Our Singapore Fund from the Ministry of Culture Community and Youth.

The project's methodology was rooted in the principles of participatory curation. An open call was disseminated across diverse platforms, forging collaborations with cultural organizations, artistic collectives, and individual storytellers. The resulting submissions—comprising narratives, poetry, and oral histories—covered a vast thematic range, from intimate family sagas to reflections on urban transformation. The critical innovation, however, lay in the translation process. Participants were not merely sources of data; they were actively engaged as co-designers. In facilitated sessions, they were introduced to VR technology and guided in the process of visually interpreting their own stories into a three-dimensional boat. This practice of "digital translation" empowered individuals, many with no formal artistic or technical training, to become agents of their own representation. They transformed abstract memories and emotions into tangible digital artifacts, bridging the gap between personal memory and public heritage.

Please read more about the process here: VR Narratives from Singapore's Shores

The VR Project “Echoes of the Bay” stands as a seminal achievement in redefining the scope of arts management. It exemplifies how the discipline can leverage emerging technologies not as mere gimmicks, but as profound tools for fostering social empathy and constructing inclusive cultural narratives. The project serves as a unique practice model for:

• Participatory Archiving: Establishing community-driven methods for heritage preservation.
• Digital Storytelling: Utilizing immersive media to create affective, empathetic connections to personal and collective histories.
• Programmatic Bridge-Building: Demonstrating how curated digital spaces can facilitate a deeper understanding across diverse community segments.

Ultimately, the project articulates a powerful thesis: that national identity in a multicultural context is not a monolithic story, but a symphony of individual echoes. By providing a platform for these echoes to resonate together, the Arts Management Program has pioneered a forward-looking practice that charts a new course for cultural curation in the digital age. The Project captured international attention as it was proudly presented at the international conferences, such as the 2025 Meaningful VR Conference at UC Davis, USA and at the 12th International Digital Storytelling Conference, hosted by Museu da Pessoa in São Paulo, Brazil.

VR Artist: Benedict Yu

Academic Supervisor / Producer: Dr Natalia Grincheva

BA Arts Management Students:
Project Lead, VR Facilitator: Lionel Fong Yu Suen 
Project Coordinator, VR Facilitator: Angela Kristie Rustham 
Project Designer, VR Facilitator: Amila Khairana Binte Abdul Rahmat
Logistic Head, VR Facilitator: Nur Fildzah Binte Sazali

Events Volunteers:
Angelina Ang, Budy Hartono, Chew Yi Tong, Chua Wei Ling Charlene, Glenn Chua, Hannah Leong, Laydio, Prakash S/O Perumal Haridas, Ruka, Sara Gohire, Shreya Sudhakar, Valerie Xia, Vhalerie Lee