Singapore’s two earliest television channels, Channel 5 and Channel 8, started broadcasting on a regular basis in April and November 1963 respectively. They ran programmes in the four official languages: Malay (20%), Chinese (including dialects) (35%), English (35%), and Tamil (10%).1 In 1973, Channel 5 started to broadcast programmes in English and Malay, while Channel 8 carried programmes in Chinese and Tamil. The programmes in different languages scheduled by Radio and Television Singapore (RTS) reflected Singapore’s multilingual and multi-racial society.2

Chinese television serials

On 17 July 1963, Channel 5 aired a three-act play lasting about one-and-a-half hours titled The Imposters: A Chinese Comedy. It was broadcast at 9:35 pm,4 after having been pre-recorded that afternoon by the Singapore Television Drama Society. This was the first Chinese television drama produced in Singapore. Another breakthrough came on 18 September 1968. Starting that evening, Channel 8 aired the drama Affection over four consecutive Wednesdays. This was RTS’ attempt “to shoot a production applying television drama serial methods and techniques”.4

Scene from The Imposters: A Chinese Comedy, newspaper clipping, 1963. Courtesy of Su Zhangkai.
Affection, newspaper clipping, 1968. Courtesy of Su Zhangkai.

October 1969 saw the premiere of My Neighbours, Singapore’s first television anthology series based on HDB life.5 In late 1971, The Spice of Life, another anthology series drawing on local life, was aired on television.6 In May 1974, the serial The Orchid by the Riverbank was launched in the same slot as The Spice of Life. This was followed by a 10-episode serial titled The Return, the second locally-produced serial,7 in March 1976.

Chinese television serials for children

While it developed television serials, RTS also launched Chinese children’s television drama serials starting from 1973.8 After Brother and Sister (1973)9, Young Neighbour (1974)10, Schoolmates (1974)11, The Young Ones (1975)12, Happy Families (1976)13, Toa Payoh, My Hometown (1977)14, The More We Get Together (1977)15, With Loving Care (1978)16 and others were aired. The 26-episode Toa Payoh, My Hometown, written by Marcus Chin and directed by Li Mingfen, is still talked about and remembered by many people who grew up in the 1970s.

Debate and variety shows

In addition to Chinese dramas, locally-produced programmes had two other major highlights. The first — launched by the Central Production Unit, a department that publicised state policies for the government — was a series of Chinese television debate shows that began in 1968. It sparked debate fever in the local Chinese community for about 20 years.

The second was variety shows, launched at the end of the 1960s, which featured mainly singing, dancing and comedy skits. Huayue Liangxiao (A Beautiful Evening) and Sharp Night were among the most talked-about programmes. Variety shows gave talented local singers such as Lena Lim, Chang Siao Ying, and Sakura Teng, as well as beloved dialect comedians Wang Sha (1925–1998) and Ye Feng (1932–1995), the opportunity to perform outside of usual venues such as getai or nightclubs and be recognised by a wider audience in Singapore.

Although RTS managed to produce the above programmes, resources invested in local productions were limited. Drama serials were still in black and white, even though RTS had started colour broadcasting in 1974. Among industry practitioners — director and assistant director excepted — actors and scriptwriters took part in the scene on an amateur basis. Thus began the first generation of local television actors. Many of them later became professional television personalities: Chen Shucheng, Steven Woon, Lee Eng Choo, Marcus Chin, Xiang Yun, and Jack Neo.17

The majority of programmes targeted at the Chinese community during this period were thus films or television shows from Hong Kong and Taiwan, which were often in Cantonese and Hokkien. In 1979, in response to the Speak Mandarin Campaign, RTS, as a government department, set a schedule for its programmes to be “completely dialect-free”.18 This set the language direction for Singapore’s next big push for locally-produced programmes.