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Presented by The Necessary Stage In Collaboration with Esplanade – Theatres on the Bay

24 – 28 Jan 2024

(Intermission: None)

Esplanade Theatre Studio

This event is over.

— Bakchormeeboy on an earlier iteration of Oo-woo at Playwrights’ Cove 2022

Through tender storytelling,  Oo-woo  unravels the intricate web of caring for an elderly family member. As the story unfolds, deep secrets and hidden desires come to light, casting doubt on the strength of familial bonds. When their cherished family bird mysteriously disappears, a journey of unsettling discoveries begins, challenging the characters' understanding of duty and love.

Written by Raimi Safari, directed by Mohd Fared Jainal, and starring Dalifah Shahril, Farah Lola, Isabella Chiam and Yazid Jalil,  Oo-woo  delves into the haunting realm of dementia, blurring the lines between reality and illusion. A single bird brings into question the sacrifices and choices we make when faced with the unknown.

Oo-woo  was developed at The Necessary Stage’s Playwrights’ Cove 2022 under the mentorship of Resident Playwright Haresh Sharma.

Post-show dialogue on 25 January 2024, with speech to text interpretation available upon request. Please email your request to  [email protected]  before 15 December 2023.

Artist Statement

I believe that theatre has the power to create meaningful and transformative experiences within a community. By exploring the theme of taking care of the elderly in a Singaporean context, we shed light on the challenges and sacrifices involved in this deeply personal journey.

Oo-woo  delves into the internal struggles between personal aspirations and familial obligations, resonating with many individuals who face similar dilemmas. By addressing the poignant topic of caring for the elderly in Singapore,  Oo-woo  prompts the community to reflect on the importance of familial bonds, the sacrifices we make for our loved ones, and the need for support and compassion in navigating such situations.

— Raimi Safari, Playwright

24 Jan 2024, Wed

25 Jan 2024, Thu

26 Jan 2024, Fri

27 Jan 2024, Sat

28 Jan 2024, Sun

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• Festivals & Series
• M1 Singapore Fringe Festival 2024

Raimi Safari

Raimi Safari started his foray into theatre by assistant stage managing for Noor Effendy Ibrahim’s Bilik Ahmad . Following which, he dabbled in acting for theatre, TV and film for both English and Malay audience. In 2012, he also starred in a short film under director Tan Bee Thiam for Kopi Julia , a film tribute to the Malay horror films made in the 50s in Singapore under 13 Little Pictures. In 2016, he acted for Singapore Theatre Festival for a double bill titled Riders Know When It’s Gonna Rain.

Always curious and thirsty to learn, he then dove straight in into playwriting, staging his first full piece titled LOCKDOWN under the guidance of Aidli Mosbit, presented by Hatch Theatrics. 

His latest writing works include Landing  for Late Night Texting under C42 in 2018 as well as collaborating with fellow Main Tulis Group members to present Pitch Witch  for BooksActually’s SingLit Festival and a 15 minute piece titled Welfare Assistance for Singapore Writers Festival in 2019. 

In 2020, as part of a work presented under SingLit Station and New Light/New Works, he presented a piece titled Apa Yang Tinggal Selepas Selamat Tinggal  and in 2022, he presented his second full length piece, Rindu di Bulan as part Rupa Co.Lab, under the banner of M1 Fringe Festival.

Last Updated: February 2023 

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M1 Singapore Fringe Festival 2024: A Confluence of Art and Social Commentary

Celebrating its 20th edition, the M1 Singapore Fringe Festival (M1SFF), a cornerstone of Singapore’s cultural landscape since 2005, continues its mission of presenting thought-provoking local and international works. Scheduled from January 17 to 28, 2024, the festival promises an array of productions that delve into societal challenges and encourage new perspectives​ ​.

Highlights of the Festival

Exploring family dynamics and duty.

Raimi Safari’s “Oo-Woo,” directed by Mohd Fared Jainal, is set to be staged at Esplanade Theatre Studio. This original Singaporean production examines the complexities of family relationships and the care for an elderly matriarch, juxtaposed against the disappearance of a family pet Asian koel​ ​.

Addressing Grief and Mental Health

Matter.Less, a young Singaporean arts collective, debuts with “Here Where You Were” at NAFA Studio Theatre. This forum theatre piece, directed by Moli Mohter, sensitively explores themes of grief, depression, and suicide within Singapore’s Malay/Muslim community​ ​.

The Intricacies of Love and Betrayal

“Motherland” by Very Shy Gurl by fendy, to be presented at Practice Space, The Theatre Practice, delves into the emotions of love and betrayal experienced by two soldiers with opposing loyalties amidst a tumultuous backdrop​ ​.

Human Existence and Empathy

“Thom Pain (based on nothing)” by Edith Podesta, Yarra Ileto, and Nanyang Academy of Fine Arts, offers a profound look at the human condition. Staged at NAFA Studio Theatre, this Pulitzer Prize-nominated play navigates through loneliness, vulnerability, and the quest for empathy​ ​.

Confronting Racial and Social Issues

J’Sun Howard’s “aMoratorium” at Esplanade Theatre Studio is a dance-theatre performance that confronts racial supremacy, police brutality, and homophobia. This U.S. production promotes understanding and compassion among diverse communities​ ​.

Humor and Absurdity

“Same Same” by Dame de Pic/Cie Karine Ponties & Temporary Collective, an award-winning performance from Belgium and the Czech Republic, uses humor and irony to explore the absurdities of the corporate world. Inspired by silent film icon Buster Keaton, it promises depth beneath its humor​ ​.

Accessibility and Inclusivity

In line with its commitment to inclusivity, M1SFF collaborates with Equal Dreams to ensure the festival is accessible to all, including those with disabilities. This includes providing Plain English text transcriptions, visual stories, captions, and speech-to-text interpretations​ ​.

Ticket Information

Tickets, priced at $35 and $28 for students, senior citizens, and others, are available online, ensuring that the festival remains accessible to a wide audience​ ​.

The M1 Singapore Fringe Festival 2024 stands as a beacon of artistic expression, addressing pressing social issues through a diverse lineup of powerful performances. Its commitment to challenging societal norms and fostering inclusive dialogues makes it a must-attend event in the cultural calendar of Singapore.

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The Necessary Stage (Singapore)

“… Oo-Woo follows in the footsteps of Raimi’s earlier work Rindu Di Bulan and captures the complexities of family, particularly the bond between parents and children.”

—Bakchormeeboy on an earlier iteration of Oo-woo at Playwrights’ Cove 2022

Oo-Woo is a loving story about taking care of a person with dementia in a family. We find out secrets and hidden wishes that strain the family. When the pet bird goes missing, the family finds out about upsetting things. They question what they know about duty and love.

The show is written by Raimi Safari and directed by Mohd Fared Jainal. The four actors are Dalifah Shahril, Farah Lola, Isabella Chiam, and Yazid Jalil. It talks about dementia. It is unclear what is real or fake in the show. The bird in the story makes us think about what we will give up and choose when life is uncertain.

Oo-Woo was developed at The Necessary Stage’s Playwrights’ Cove 2022. The mentor was Resident Playwright Haresh Sharma.

There is a post-show talk on 25 January 2024. Speech to text interpretation can be done if needed. If you need this service, email us at [email protected] before 15 December 2023.

Artist Statement

“I believe that theatre can create change. Looking after the elderly in a family is a personal story. Through the show, we are able to share why it is hard and what we have given up for them.

“Oo-woo talks about the struggle between doing what you want and helping your family. Oo-Woo tells a story about caring for the elderly with dementia to make us think about three things:

• Why family is important
• What we would give up for loved ones
• How we can support caregivers

“We hope that this play will make people talk and think more about this topic. We hope they will care for others and want to do something for their community. Together, we can build a society where people support each other. We help our elderly and people who care for them. Oo-woo wants more to know and care about those who have to look after elderly family members.”

—Raimi Safari, Playwright

Through tender storytelling, Oo-woo unravels the intricate web of caring for an elderly family member with dementia. As the story unfolds, deep secrets and hidden desires come to light, casting doubt on the strength of familial bonds. When their cherished family bird mysteriously disappears, a journey of unsettling discoveries begins, challenging the characters' understanding of duty and love.

Written by Raimi Safari, directed by Mohd Fared Jainal, and starring Dalifah Shahril, Farah Lola, Isabella Chiam and Yazid Jalil, Oo-woo delves into the haunting realm of dementia, blurring the lines between reality and illusion. A single bird brings into question the sacrifices and choices we make when faced with the unknown.

Oo-woo was developed at The Necessary Stage’s Playwrights’ Cove 2022 under the mentorship of Resident Playwright Haresh Sharma.

Post-show dialogue on 25 January 2024, with speech to text interpretation available upon request. Please email your request to [email protected] before 15 December 2023.

“I believe that theatre has the power to create meaningful and transformative experiences within a community. By exploring the theme of taking care of the elderly in a Singaporean context, we shed light on the challenges and sacrifices involved in this deeply personal journey.

“ Oo-woo delves into the internal struggles between personal aspirations and familial obligations, resonating with many individuals who face similar dilemmas. By addressing the poignant topic of caring for the elderly with dementia in Singapore, Oo-woo prompts the community to reflect on the importance of familial bonds, the sacrifices we make for our loved ones, and the need for support and compassion in navigating such situations.

“We hope that this play will initiate conversations, spark empathy, and encourage action within the local community. Through collective reflection, we can build a more inclusive and supportive society, where the needs of our elderly are acknowledged, and the challenges faced by caregivers are understood and addressed. Oo-woo aspires to foster greater awareness and compassion for those caring for their elderly family members.”

Date & Duration 24–27 January 2024, 8pm 27–28 January 2024, 3pm 75 min with no intermission

Location Esplanade Theatre Studio

Price $35 | $28* *Concession for students, NSF, senior citizens and PWD cardholders

Esplanade&Me Specials (7 Nov - 31 Dec 2023, limited tickets) Black & White card members enjoy a 10% discount off standard price tickets. Log in to your Esplanade&Me member account to access the promo code. Language In English and Bahasa Melayu

Accessibility Features Open captions in English for all shows

Rating Advisory (Some Mature Content and Coarse Language)

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• Literary Arts
• Visual Arts
• Talk/Workshop

• Date: 24 - 28 Jan 2024
• Time: 3:00pm & 8:00pm
• Duration: 75min
• Venue: Esplanade Theatre Studio Esplanade Theatre Studio Esplanade Theatre Studio
• Language: In English and Bahasa Melayu
• Website: 2024.singaporefringe.com/
• Facebook: www.facebook.com/m1sff
• Contact: [email protected] / 64408115
• Admission: $35 | $28* *Concessions for students, NSF, senior citizens and PwD cardholders Esplanade&Me Specials (7 Nov - 15 Dec 2023, limited tickets) Black & White card members enjoy a 10% discount off standard price tickets. Log in to your Esplanade&Me member account to access the promo code. Accessibility features: open captions in English for all shows Buy/Register
• Advisory: Rating: To be advised

Through tender storytelling, Oo-woo unravels the intricate web of caring for an elderly family member with dementia. As the story unfolds, deep secrets and hidden desires come to light, casting doubt on the strength of familial bonds. When their cherished family bird mysteriously disappears, a journey of unsettling discoveries begins, challenging the characters' understanding of duty and love.

Written by Raimi Safari, directed by Mohd Fared Jainal, and starring Dalifah Shahril, Farah Lola, Isabella Chiam and Yazid Jalil, Oo-woo delves into the haunting realm of dementia, blurring the lines between reality and illusion. A single bird brings into question the sacrifices and choices we make when faced with the unknown.

Oo-Woo was developed at The Necessary Stage's Playwrights' Cove 2022 under the mentorship of Resident Playwright Haresh Sharma.

Post-show dialogue on 25 January 2024, with speech to text interpretation available upon request. Please email your request to [email protected] before 15 December 2023.

Accessibility features: open captions in English for all shows

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M1 Fringe Festival eschews digital with six live shows for 2024 edition

SINGAPORE – The M1 Fringe Festival returns from Jan 17 to 28, 2024 with an all-live line-up of six shows. Bucking the post-pandemic trend of hybrid programming, the festival will not be offering any digital options. 

Ms Melissa Lim, general manager of The Necessary Stage (TNS), which organises the 19-year-old festival, says the decision to drop digital was driven by a few factors. 

“We didn’t encounter suitable digital works in the submissions, which dovetails nicely with our overall curatorial direction for the line-up,” she says. 

“Secondly, we also wanted to give digital works a rest this time around. Since theatres reopened post-Covid-19, we have noticed that our audiences’ interest in the live experience has been revived, while concurrently, interest in digital art works – and, in particular, for the Fringe, with regard to performance – has declined significantly,” she adds. 

She says audience fatigue is also a factor, given the abundance of arts events in recent months, and the company decided to focus its resources on live performances. But she does not rule out digital programmes for future editions. 

The upcoming edition will feature two shows from overseas performers as well as four home-grown works.

As with the 2023 programme, which took place in January, the open call to artists did not specify a theme. 

Ms Lim says: “We found this to be a good strategy, as the artists coalesce around certain themes. We knew artists would respond to ongoing crises – there are many now around the world.” 

The common themes to the 2024 shows include race and definitions of male identity. 

Anchoring the programme is TNS’ Oo-Woo, written by Raimi Safari and directed by Mohd Fared Jainal. Developed at the theatre group’s Playwrights’ Cove under the guidance of resident playwright Haresh Sharma, Oo-Woo tells of a family’s struggles when the mother is diagnosed with early-onset dementia.

The play’s title is an onomatopoeic reference to the call of the koel. Raimi is no stranger to the Fringe as his debut script Rindu Di Bulan was staged at the 2022 edition. 

Motherland, written and directed by Very Shy Gurl by fendy, was first presented as a work-in-progress at Sifa X earlier in 2023. The work tells the story of two soldiers from opposing forces who fall in love even as their countries wage war. It is former Substation artistic director Noor Effendy Ibrahim’s first theatre work in English. 

The Fringe will also offer a forum theatre work from young theatre group Matter.Less. Written by Danial Matin, Here Where You Were will tackle mental health issues of grief, loss and suicide ideation.

Festival manager Jezamine Tan says the show will play to intimate audiences of 50, adding: “We hope this will be a safe space for people to talk about these issues.” 

Last but not least of the Singapore shows is Thom Pain (based on nothing), a Pulitzer Prize-nominated work which will be performed by students from the Bachelor of Arts (Honours) in Performance Making programme at the Nanyang Academy of Fine Arts.

The work, a monologue by a man who shares intimate details of his life, will be directed by theatre veteran Edith Podesta and choreographed by Yarra Ileto. 

Completing the festival are two imported works. American choreographer J’Sun Howard’s aMoratorium is a dance piece that asks questions about black masculinity and visibility, and will be performed with a live deejay spinning a diverse musical soundtrack spanning gospel and hip-hop. 

Same Same by Dame de Pic/Cie Karine Ponties and Temporary Collective strikes a more light-hearted note for the festival.

Belgian choreographer Karine Ponties, Czech dancer Tereza Ondrova and Czech theatre director Petra Tejnorova were inspired by silent movie comic Buster Keaton to create this madcap work that looks at what happens when the daily grind of routine gets disrupted by the unexpected. 

Ticket prices for the shows have increased slightly to $35, from $32 in 2023. The festival’s tickets have traditionally been among the cheapest around and it has strived to keep prices affordable.

Ms Lim says of the increase: “Times are really rough. We want to ensure that artists and crew get equitable wages.” 

Book it/M1 Fringe Festival

Where: Esplanade Theatre Studio, 1 Esplanade Drive; Nafa Studio Theatre, 151 Bencoolen Street; Practice Space, 54 Waterloo Street When: Jan 17 to 28, various times Admission: $35 from bookmyshow.com Info: https://2023.singaporefringe.com/Fringe-2024

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Singapore This Week

The shaping of the Long Island narrative, lecturer tells students to stop asking for permission to be creative, 97 percent of safety incidents on escalators due to poor usage, “Gaya Kebaya - 130 years” at Kampung Gelam, TNS trains new theatre-makers, PropertyGuru no longer in the red, and more.

Politics: Two town councils must fork out, as WP awarded costs for appeals

This week, the Workers’ Party (WP) notched an important victory in its long-running case involving the management of the Aljunied-Hougang Town Council (AHTC) and the Sengkang Town Council (STC). In 2011, the WP won the Aljunied Group Representation Constituency (GRC), the first time in history the ruling People’s Action Party (PAP) has lost a multi-seat district. The WP then switched town council managing agents from CPG Facilities Management, which it believed was aligned with the PAP, to FM Solutions and Services (FMSS), newly set up by How Weng Fan and her late husband Danny Loh, who’d been assisting the WP on the ground. These shifts essentially set the scene for a multi-year tussle— explained by CNA in detail here —over whether three WP leaders, Pritam Singh, Sylvia Lim and Low Thia Khiang, had acted improperly, including in terms of the alleged misuse of funds and the alleged failure to set up proper payment controls. Parallel suits were initiated by two town councils—an independent panel appointed by AHTC; and Pasir Ris-Punggol Town Council, which later handed it over to STC—against eight defendants, including the WP politicians and FMSS employees. In November 2022 and July this year , the Court of Appeal cleared them of most, but not all, of the High Court’s 2019 findings against them. And this week, noting that the councillors were “successful in overturning the outcome reached in the court below on the majority of the issues”, the Court of Appeal ordered AHTC and STC to cover appeal costs and disbursements of around S$388,800. (And in doing so, it agreed with the WP leaders that their use of more than two lawyers to fight the appeals was warranted.) Lim, Low, and Singh are still liable for alleged negligence in terms of payment controls, which created a risk of improper payments, one of the Court’s findings. But they’ll be encouraged by this week’s news.

Society: Wait Long Long

By 2100, in an extreme climate scenario, sea levels could rise by as much as 1.3-1.6m, and some 2bn people could become climate refugees, many of them in South-east Asia. But don’t you worry, Singaporeans. The PAP has you covered, with its tried-and-tested formula: reclaim, rebuild, barricade. As our neighbours sink, we will rise, “our” land fortified, without a hint of irony, with sand dredged from them. The latest chronicle in what writer Rachel Heng has called “The Great Reclamation” was revealed this week by Desmond Lee, national development minister: a “Long Island” of 800 hectares, equivalent to over 1,000 football fields, that could accommodate up to 60,000 new homes. First conceived in 1991, Long Island, in its current proposed form, looks like a long strip bolted on to Singapore’s East Coast, stretching from Marina East to Tanah Merah, with a proposed reservoir in between—the natural sea makes way for a manmade bay. Technical studies and public consultations on the project will begin next year, though, given the analogous recent experience with (destroyed) Dover Forest East , one worries that the natural aristocrats have already made up their minds, and that their minions will now proceed with box-checking exercises to foster the illusion of collaborative decision-making. No doubt, coastal protection, flood control, and water supply resilience are imperatives for our city-state. But surely other options must be given a fair hearing. “The idea of reclamation, an act of environmental degradation, as a form of environmental protection (against sea level incursions) always baffles me,” wrote Madhumitha Ardhanari, a sustainability strategist and prominent land reclamation researcher, on Instagram. “Especially when all the social/environmental considerations in the [ Straits Times ] article are only considering local impacts, not of those in source countries.” By mimicking New York City—patriots, is this the season when we actually want to be like the West?—the PAP reminds us of its global city ambitions. But the Long Island plan also opens the door to a more fundamental conversation about the kind of country we want. “What will happen after 2030? Will we grow to 8 million in 2040 and 9 million in 2050?” Gerald Giam of the Workers’ Party (WP) asked in Parliament in 2013 . “I am concerned that the Government seems to be proposing a ‘population growth forever’ model, whereby each successive generation requires a larger workforce to keep expanding the GDP. This is simply not sustainable.” The PAP did not adequately deal with Giam’s argument then and, 10 years on, has yet to offer Singaporeans an alternative vision of our future, one that does not involve high population growth and godly manipulation of our bumi, our earth. There is an opportunity here for the WP, and other opposition parties, to do so ahead of the next election. Many voters, particularly in the younger generation, may be swayed by the winds of change—just like the palm trees that once lined the stretch of land called Beach Road.

Note: “Affordability in the Lion City: is Singapore’s public housing model built to last?”, an essay in Jom’s first print issue, describes the population growth and housing quagmire, and suggests three policy proposals. Get your copy now .

Some further reading: “ Magical thinking: shaping sand for our dreams ”, by Aleithia Low

Society: Permission to be creative

“As a creative, why are you asking for permission to express your own creativity? Why are you asking if your work is ‘right’? As if in creative work there is a ‘right’ and ‘wrong’?”, asked a lecturer from LASALLE College of the Arts in a TikTok that went semi-viral, last week. Shawn Soh teaches design at LASALLE and lamented that students often ask him questions like “is this design right?” and “can I do this?”. His video was received with mixed feelings—some bemoaned the “sorry” state of arts education in Singapore (“We always need to ask if our art is okay…I just forgot about creativity after all that,” said one commenter), while others pointed out that even if there’s no “right” or “wrong”, there’s an “A” and an “F” grade; students simply want some reassurance from the person grading them. A fashion design student from Temasek Polytechnic also “ stitched ” Soh’s video, responding to his TikTok with her own experience receiving a “D+” grade even though her lecturer liked her designs, ultimately reinforcing the importance of following assignment guidelines closely. Many arts educators also emphasise non-aesthetic criteria in their rubrics, such as communication, contextualisation and reflection. The practicalities and nuances of grading artistic projects aside, Soh has a point: Singaporean students are generally more risk-averse, and that tends to take a toll on creativity. The rigidness of Singapore’s education system and our tradition of assessing and sorting students into different “streams” from a young age doesn’t exactly encourage experimentation. “We know how to train people to take exams,” Tharman Shanmugaratnam, president and a former education minister, once said. That might be why we’ve produced proportionally fewer inventors, artists and business leaders despite Singapore’s teenagers consistently outperforming their international peers in the Programme for International Student Assessment, a worldwide study by the Organisation for Economic Co-operation and Development. In an effort to “re-balance” our education system, a slew of changes have been implemented in recent years, including: the phasing out of streaming, introducing a new PSLE scoring system, and the scrapping of mid-year exams for some levels in primary and secondary schools. With less emphasis on exam-taking, hopefully we can nurture a learning environment where students feel comfortable taking risks instead of asking for permission to be creative. 

Society: The ups and downs of riding escalators

A child’s foot was caught in an escalator at the Apple Store in Marina Bay Sands; a six-year-old required surgery after his smallest toe was dislocated when it got stuck in an escalator; a woman’s shoe was “chewed up” by an escalator at Woodlands MRT, barely missing her toes; a shopper fell over when her slipper ended up wedged between an escalator’s “teeth” and it stopped abruptly; and an elderly couple suffered lacerations, a wrist fracture and dislocated elbow, after a commuter on an escalator fell backwards onto them at Clementi MRT station. These are some of the more notable safety incidents on Singaporean escalators in recent times. They happen more often than one might imagine—632 from January to October, according to the Building and Construction Authority (BCA). Of these, 97 percent were due to incorrect usage, it said, with the remaining three percent the result of mechanical failures. Top human-related causes include: people handling large, heavy items; travellers moving up and down the escalator, not holding onto the handrail, being distracted on a handphone; and getting clothing, footwear or body parts trapped. To prevent such accidents, BCA plans to raise public awareness, and has piloted the use of magnetic bollards to stop users from riding escalators when carrying bulky items. While most incidents around the world result in little to no harm, some can end in serious trauma, injuries and even death. SMRT Trains has encouraged the elderly, people with mobility issues, and passengers with prams to take the lift instead. Elsewhere, public transport operators, such as in Hong Kong and Japan, have warned against walking on escalators. MTR Corporation noted that passengers who do “not only face higher risks but also jeopardise other users.” By standing still and holding on to the ( probably filthy ) handrail, commuters can avoid losing their balance or misjudging their footing, and are also less likely to fall if an escalator stops suddenly in an emergency. And believe it or not, studies have shown that standing two abreast on the escalator, rather than leaving the right or left (depending on where you live) empty for walkers saves time for everyone, putting paid to the long-held belief that it’s faster to keep moving. Another piece of advice: don’t ride an escalator when intoxicated or unwell. Prudence or paranoia? Since negative experiences on an escalator can cause physical and mental harm, as well as lead to escalaphobia , it might not hurt to be extra careful. Besides, with more than 7,000 escalators across the island, it’s become harder and potentially troublesome to not use them—in shopping malls, office buildings, and when taking the MRT, where some of these ubiquitous people movers are particularly long and steep. And if you’re in a rush, take the stairs instead.

History weekly by Faris Joraimi

@kebaya.societé , an Instagram account dedicated to historical Nusantara women’s fashion, recently curated a nine-day exhibition called “Gaya Kebaya – 130 Years” at Kampong Gelam. Twenty, mostly vintage, kebayas with matching kain and sarong were displayed on mannequins loaned from the National Heritage Board (NHB) and Peranakan Museum (TPM). The collaborative project, jointly organised by trade association One Kampong Gelam and Malay broadcaster BERITA Mediacorp, included a TV documentary produced by BERITA which premiered at the exhibition opening, as well as a runway show featuring designs by Kampong Gelam’s kebaya ateliers. It’s important proof that cultural education can extend beyond authoritative museums and institutions, where the interests of wealthy donor-patrons, state bureaucrats, and the elite antiquities market dominate the way our histories are represented. One anonymous Instagram museum reviewer called Gaya Kebaya a “loud rebuttal” to TPM’s boo-boo over its kebaya exhibition earlier this year ( which I wrote about ). Yet the latter’s mannequin loans suggest there is probably no bad blood. The partnership with state media and the presence of Faishal Ibrahim, minister of state for home affairs and national development, at the exhibition premiere, points to @kebaya.societé’s assumption of a more public-facing role. That may come with delicate responsibilities, not least the management of communications with its online critics, mainly conservative Malays less approving of “immodest” dress like the kebaya. As part of its work, @kebaya.societé champions the kebaya’s full diversity, not just the hourglass-fit forms worn by classic Malay film stars. The kebaya panjang, for instance, drapes long and loose. Behind the account, however, are two young men: Sufiyanto A. S. and Afiq Juana, the former a Paris-trained couturier and the latter a fashion-business consultant. We benefit from the public service they provide, showcasing the kebaya’s entanglement with debates over religion, gender, modernity and regional identity. Most importantly, I admire their unwavering recognition of the women who wore it, including the late Puan Salehah Mohamed Shah (1935-2023), the editor of a popular Malayan entertainment and lifestyle weekly, Fashion. The exhibition was dedicated to her. 

Arts: Artist residencies—spaces for research and rest

In a sector teeming with itinerant workers, various arts organisations and institutions in Singapore have been carving out spaces for artists to berth, offering a small reprieve from financial and spatial pressures with a combination of modest stipends and venue support. Artist residencies have become increasingly popular over the past five years, and this weekend both the Singapore Art Museum (SAM) and the NTU Centre for Contemporary Art Singapore (NTU CCA) are offering a glimpse into the working processes of their artists-in-residence with a slate of open studios and exhibitions. There is a significant ecocritical bent to artists’ current preoccupations. At SAM’s Open Studios , Singaporean artist PG Lee has found new purpose for the lalang, the feathery and ferocious weed that has proliferated across Singapore’s otherwise manicured gardenscapes. Lee is joined in his ecological explorations by Nilanjan Das (Kolkata), who is looking at sand, reclamation and placemaking in East Coast Park; and Takuya Watanabe (Tokyo/Amsterdam), whose video work revisits the old Changi Tree, felled as part of British military operations during world war two, against the backdrop of Singapore’s Green Plan. Over at NTU CCA, Singaporean artist Priyageetha Dia has returned from the Jan van Eyck Academie (the Netherlands) to present “Sap Sonic”, a sound installation that continues her research into South-east Asian plantations and their colonial histories. The most attractive residencies tend to offer artists a space for both research and rest , and demonstrate an understanding of what it means to let an artistic practice lie fallow and be fertilised by communities of practice, new environments, and nascent ideas. Expected outcomes may look like work-in-progress showcases for a generous public or interactive presentations with a test audience. These serve the broader development of the artist’s practice and ethos, which they’re often deprived of if forced to conform to a relentless factory line of overproduction. Residencies might be thematic (Esplanade’s sophomore performing arts residency sought proposals on “decentering access” ), may platform specific demographics (Objectifs’ residency for women in photography and film; Centre 42’s residency for mid-career playwrights), or feature partnerships with regional and international institutions that offer artists access to the resources of other cultural centres—as is the case for NTU CCA’s SEA AiR – Studio Residencies for Southeast Asian Artists in the European Union . 

Arts: Training new generations of theatre-makers with The Necessary Stage

The creation of new Singaporean theatre is the lifeblood of vanguard theatre company The Necessary Stage (TNS). This weekend, they will be showcasing five works-in-progress by the latest cohort of the TNS Devising Platform : Devising with Actors and Playwrights 2023. This crop of 20 theatre-makers are the latest in a long line of practitioners who have undergone TNS’s suite of mentorship and training programmes since the early 1990s, joining the likes of Jean Tay, an award-winning playwright (“Boom” and “Everything But The Brain”), and Natalie Hennedige, director of the Singapore International Festival of the Arts. The theatre company has been consolidating its devising and development methodologies over the past few decades through various publications and platforms. These include more hands-on programmes such as their flagship Playwrights’ Cove (since 2001) and experimental lab The Orange Playground (2014-2015), as well as resident playwright Haresh Sharma’s part-memoir, part-manual “Reading the Room: A Playwright’s Devising Journey”. These programmes have often acted as incubators for playwrights and performance-makers to test out new work, which have, in turn, regularly found their way onto larger and more formal stages. Take Playwrights’ Cove alumna Amanda Chong, whose play “ Psychobitch ”, about gender politics told through the romantic rendezvous of a high-flying journalist, sold out its run as part of theatre company Wild Rice’s main season. Come January, Raimi Safari’s “ Oo-Woo ”, on dementia and eldercare, will premiere at the M1 Singapore Fringe Festival . Post-show dialogues with the artists allow the audience to contribute to this batch of works, which engage with everything from Buddhist-Taoist philosophy to the relationship between an artist and her critic nemesis.

Tech: PropertyGuru out of the red after four quarters

PropertyGuru, a Singapore-based online real estate company, has marked a turnaround with S$312,000 in net income for Q3 2023, ending a year-long sequence of net losses. This return to profitability is particularly noteworthy given the volatility in property markets and economic uncertainty. The company witnessed a commendable 13.2 percent increase in revenue to reach US$29.2m (S$39m) for the quarter. Singapore remains the prime contributor to this surge, accounting for almost US$16.8m (S$22.4m), while the Malaysian market added approximately US$5.1m (S$6.8m). PropertyGuru’s growth in Singapore is due to an increase in the number of agents, strong renewal rates of 85 percent, and a 23 percent year-on-year increase in average revenue per agent to S$1,279. However, Vietnam, another core market for PropertyGuru, saw a steep 32.8 percent drop in revenue, a reflection of the ongoing struggles in the property market there, significantly influenced by governmental policy interventions. In alignment with the positive net income outcome, PropertyGuru also reported a robust US$3.9m (S$5.2m) in adjusted EBITDA (earnings before interest, taxes, depreciation and amortisation), double the previous year’s. The company’s chief financial officer, Joe Dische, attributed this performance to the strategic enhancing of its operating leverage, through the employment of technology, automation, machine learning, and strict cost control. This underscores the company’s focus on long-term profitability and value creation. But the market still needs some convincing. For while PropertyGuru is out of the red for now, Wall Street analysts have significantly reduced their forecasts for the firm, signalling bearish sentiment in future quarters.

Tech: Protecting investors from cryptocurrency 

After last week’s announcement of the comprehensive guidelines for blockchain adoption, including the eventual rollout of a central bank digital currency, the Monetary Authority of Singapore (MAS) has taken a proactive stance to safeguard investors. It’s introducing new regulatory measures aimed at cryptocurrency and digital payment token (DPT) service providers. These measures encompass crypto exchanges, stablecoin operators, and established financial institutions involved in the crypto space. Set to roll out in stages from mid-2024, the regulations seek to establish a comprehensive framework targeting business conduct, consumer access, and technology and cyber risk management. Service providers are expected to manage and disclose any conflicts of interest that could affect consumers adversely. Moreover, there’s a push for clear guidelines on the listing process of DPTs, as well as well-defined protocols for addressing customer grievances and dispute resolution. Pertinent to consumer access, MAS has outlined measures designed to curtail excessive speculation in cryptocurrencies. This involves evaluating customers’ understanding of the risks involved in crypto trading, not incentivising crypto transactions, and prohibiting transactions that involve credit financing or leveraging. Critically, MAS also stipulates that locally issued credit cards cannot be used to make payments to DPT providers, and the value of cryptocurrency must be excluded from assessments of a customer’s net worth. Besides making it harder for investors to quickly purchase cryptocurrencies, individuals whose accredited investor status is due to cryptocurrency holdings might find it harder to access different investment products. From a technological standpoint, DPT services must ensure robust system availability and swift recoverability, harmonising their standards with those required of traditional financial institutions. These measures by MAS reflect a conscious effort to balance fintech innovation with investor protection—recognising cryptocurrencies as part of the financial ecosystem, while also addressing the significant risks that they pose.

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Read past issues

Education Ministry refuses to share controversial Israel-Gaza slides, police given more powers to apprehend people with mental disorders, opposition MPs drill down on job numbers, the new Changi Heritage Trail, fresh perspectives on familiar artworks at new National Gallery exhibitions, and more.

Government asks Israeli Embassy to remove Facebook post, Tharman films himself approving Budget, foreign domestic workers turn to gold to help with precarity, Singapore’s the happiest place in Asia, poets gather for another round of SingPoWriMo, bike-sharing market shrinks, and more.

Workers’ Party chief charged with two counts of lying, gender equality not a “zero-sum” game, in whom do we trust, saving the Singapore Indoor Stadium, Eugene Tan’s many hats, the countdown on TikTok in the US, and more.

All in favour of Budget said ‘aye’, Singaporean couples prefer to stop at one, the spread of misinformation about Singapore in China, drag queen Kira Moon allegedly assaulted after night out, ‘no questions asked’ tickets to Checkpoint Theatre’s shows, Shiok Meats and Umami Bioworks merge, and more.

Making politicians’ asset declarations public, face-shaming litterbugs, the historical threads of Glass and Swift’s musical repertoires, Kampong Gelam artwalk, Temasek in early discussions to invest in OpenAI, and more.

Another blow for PSP, MOE under fire for its attempt to teach students about Palestine, Singapore criticised for exclusive Taylor Swift deal, literary pioneer Suratman Markasan dies at 94, an art exhibition by seniors for seniors, Grab in the black for the first time, and more.

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• Introduction
• Production Photos
• Other programmes

Playwrights' Cove

Part of the TNS Devising Platform 2024

In 2001, TNS launched Playwrights’ Cove, a development and mentorship programme aimed at nurturing, processing and platforming contemporary playwriting for Singapore theatre. Many of its participants are well-known practitioners and educators today, including Jean Tay, Ng Yi-sheng, Natalie Hennedige, Kenneth Kwok and Matthew Lyon.

We re-launched Playwrights' Cove in 2020 and 10 selected participants underwent training and mentorship by Resident Playwright Haresh Sharma. To find out more about Playwrights' Cove 2020, click here .

Playwrights' Cove 2022 saw the following artists undergo training to develop brand new works:

• Adeeb Fazah
• Amanda Chong
• Amitha Pagolu
• Christopher Chee
• Eleanor Tan
• Lim Shien Hian
• Mitchell Poon
• Raimi Safari

Playwrights’ Cove 2022 culminated with the participants presenting their newly developed works from 2 to 6 November 2022 at Practice Space, The Theatre Practice. More information about the line-up and the new works created can be found here.

OPEN CALL FOR PLAYWRIGHTS' COVE 2024

Playwrights’ Cove 2024 will be a six-month playwriting training and mentorship programme led by Resident Playwright Haresh Sharma for 11 selected emerging playwrights. By the end of the programme, each playwright will have their play read before a public audience. Sessions will be conducted in English. Applicants can write in any language but must provide complete translation in English.

Candidates should be:    

- Emerging Singapore playwrights who have written and staged at least one play; - Interested in social issues and open to exploratory theatre; - Able to commit to the training period from Saturday 8 June to Saturday 30 November 2024, weekly at 2 – 5PM , culminating in play-reading sessions from 20 to 24 November 2024 . Please note that this schedule may be subject to change.

The fee for Playwrights' Cove is $500 for the entire period.   To apply, please click here for the application form, and include the following in your submission:

- A statement of intent or interest;   - An updated CV of your playwriting experience; - A short bio of yourself - A sample of your writing of either scenes or a short play of at least 10 pages.  

Upon completion of the workshop, participants will be provided with a letter detailing their attendance of the sessions.   If you have specific needs or require financial assistance, please indicate this on the application form as well, and we will do our best to support you.

The Second Breakfast Company

"We've had one yes. But what about second breakfast?"

The Tale Of Tanggang – Mystical Tales In Tampines

Listen Here:

Tanggang leaves his poor parents in search of a better life. He lies about his past, spinning a tale of riches and princehood. When he returns after many years, will he forsake his past again or embrace it?

Based on: The Curse of Si Tanggang

Shaik Nazray as Tanggang Fahim Murshed as Kapitan (Audio Play)/Father Nurulhuda Hassan as Mother Sofie Buligis as Tanggang’s Wife Tysha Khan as Kapitan (Live Performance)

Written By:

Raimi Safari

About Si Tanggang

This story tells the tale of the curse that Si Tanggang from Malaysia, who was turned to stone for being as an ungratefulness as a son.

Variations of the tale originate from the Minangkabau in West Sumatra, Indonesia, where it may also be known as Malin Kundang, and also in Brunei as Nakhoda Manis.

Read more about this folktale and its variations here .

About Mystical Tales In Tampines

A young boy is taught by his Father to overcome his fears like Badang once did in Vomit, two convenience store clerks have a spooky encounter with an Orang Minyak in Supervisor, and a writer resolves to retell the story of Mat Jenin in Mat Jenin is not Lazy. All these and other reimaginings of Malay folktales in Mystical Tales in Tampines ! Mystical Tales in Tampines reimagines and retells stories based on different folklore and mysteries from the Malay world.

From 28 April, keep an eye out and scan our QR codes on tables around Our Tampines Hub! This will lead you to one of five audio plays that reimagine and retell a story based on Malay folklore.

Join us for a special one-time live performance of Supervisor and The Tale of Tanggang at the Our Tampines Hub Festive Arts Theatre on 14 May 2023, 5pm. Get your tickets at the Customer Service Counter on L1!

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