Latest news with #SIFA
Hans India
2 days ago
- Entertainment
- Hans India
Artiste delivers solo debut performance in Kuchipudi
Priyanka Josyula, Kuchipudi Debut, Rangapravesam, Classical Dance, Singapore Indian Fine Arts Society, Hyderabad Cultural EventsHyderabad: Artiste Priyanka Josyula made a historic solo debut as a Kuchipudi dancer, the first from Singapore to do so, at CESS Auditorium, Ameerpet on Saturday. The full‐length solo performance signifies the culmination of years of rigorous training and dedication under the tutelage of Guru Dr Nishitha Yabaji at Singapore Indian Fine Arts Society (SIFA), Singapore. Rangapravesam, which translates to 'ascending the stage' in Sanskrit, is a revered tradition in Kuchipudi, an ancient classical dance form originating from Andhra Pradesh. It marks a dancer's formal debut, showcasing his / her mastery of technique, emotive expression (abhinaya), and the intricate storytelling inherent to Kuchipudi. Priyanka has been immersed in the art of Kuchipudi since the age of 7, delving deep into the theoretical and practical aspects of the dance.
Irish Post
21-07-2025
- General
- Irish Post
Birmingham Irish charity launches striking summer homelessness appeal
A LONGSTADING Irish charity which supports some of the most vulnerable people in Birmingham has launched a summer homelessness appeal. SIFA Fireside, a support service for people experiencing homelessness, is calling on the public not to forget those in need during the summer holidays. SIFA Fireside's latest advertising campaign launched this month 'It's an unfortunate truth that while the festive season often inspires acts of kindness towards vulnerable people, the same cannot always be said for the months when the weather is warmer, especially when we're in the middle of a heatwave,' a spokesperson for the charity said. The organisation has partnered with the Birmingham creative agency One Black Bear, to launch a compelling campaign for summer 2025 which is an extension of their 'Homelessness Doesn't Take a Holiday' fundraiser of 2023. 'During summer, many individuals tend to overlook the plight of people struggling for housing, as if homelessness seems less significant when the sun starts shining,' they said. 'As a result, donations to SIFA Fireside dry up in summer, making it even more challenging for them to continue their vital work supporting those who need it the most.' They added: 'These donations are desperately needed for unrestricted funding to help keep the Homeless Intervention Service going.' Robb Sheppard, who is Communication Manager at SIFA Fireside, said their latest campaign is 'another powerful and thought-provoking idea by One Black Bear'. 'Hopefully it will stop people in their tracks, encourage them to take a second look, and make a donation,' he added. The organisation is driving awareness of summer homelessness 'These donations will make a big difference to the day-to-day lives of our city's most vulnerable people.' Jon Harrison, Creative Partner at One Black Bear said they were 'delighted to continue helping SIFA raise awareness of their essential work supporting people facing homelessness in our city'. 'Building on our 'Homelessness doesn't take a holiday' campaign theme, this year's creative really helps draw attention to the conditions experienced by those facing homelessness throughout Birmingham and beyond, while the rest of us enjoy our trips abroad,' he added. 'If you're able to support SIFA by donating, please do." Visit for more information. See More: Birmingham, Homelessness, Irish, SIFA Fireside
Vogue Singapore
22-06-2025
- Entertainment
- Vogue Singapore
Playwright Chong An Ong and director Timothy Koh investigate the meaning of home in Singapore, Michigan
In a faraway corner of Michigan, United States, situated at the mouth of the Kalamazoo River, is the little town of Singapore—or at least, it was, until the town met its demise in the 1870s when fires swept through the state, leading to surrounding areas being completely deforested to supply lumber for rebuilding, and thus causing the winds and sands to erode the town into ruins due to the lack of protective tree cover. Today, its remnants lie buried under the sand dunes of Lake Michigan, its only legacy found in its reputation now as the state's most famous ghost town—and, more recently, as the opening anecdote used in Prime Minister Lawrence Wong's first National Day Rally in 2024. It is this fabled town that sets the scene for Pangdemonium's latest production. Written by Chong An Ong and directed by Timothy Koh, Singapore, Michigan follows three college friends—two Singaporeans and one American—on a mission to find the abandoned town. But when they find themselves trapped in a blizzard, they are forced to confront questions of belonging, passion versus practicality, and what home really means. Developed as part of Pangdemonium's New Works Lab, the play is Ong's first, written during his own time spent studying in the States. Last year, an early version of it was also staged at the Singapore International Festival of Arts (SIFA). In the lead-up to the show, Ong and Koh chat about the inspiration behind the play, the parts they've been looking forward to explore in the rehearsal room, and what they're most excited for audiences to see. Singapore, Michigan stars Ching Shu Yi, Shrey Bhargava and Zane Haney. Courtesy of Pangdemonium How are you guys doing in the lead-up to the show? Timothy: We're in the midst of rehearsals right now, and that's been surprising in the best ways. We're making a lot of discoveries in the room that I wouldn't have thought of had I just read it on the page. I think that's just the magic of what happens when actors come into the space with us. That's always when I'm at my most excited, and when I have the most fun. Chong An, this is your first play. What has it been like getting to stage it? Chong An: It's like a pinch myself moment in a dream. It's really surreal and full-circle, as one of the first experiences that got me interested in theatre was Pangdemonium's Next to Normal production in 2013. I'm aware that they've done new original works before, but it's always been with really established writers and theatre professionals. To be in that company now is daunting, but also really exciting. I'm honoured to be a part of the New Works Lab program in particular, and I look forward to seeing more works come from other Singaporean writers as part of it. What inspired you to write Singapore, Michigan? C: I started writing this play in the winter of 2020, as part of an undergraduate writing workshop at the University of Chicago. I was in a similar place as the characters—a college senior about to graduate and come back home to serve my government scholarship. And I was thinking a lot about the same questions. What do I want to do with my future? How has four years of college in a foreign country shaped me, as opposed to the person I was before that? I think, in Singapore, oftentimes, there's this almost ritualistic invocation of the idea of home. After four years of talking to both my Singaporean and non-Singaporean friends, I was having these epiphanies about the concept of home that I wouldn't otherwise have had if I'd stayed in Singapore. It was a transitional period of my life where a lot of these questions were boiling, and it honestly almost felt like I had no choice but to write it, to process a lot of the emotions that I was going through. The play follows three friends who get snowed in whilst on a mission to find the ghost town of Singapore, Michigan. Courtesy of Pangdemonium Has the play evolved since you first started writing it in 2020? C: For sure. Writers will often say that playwriting itself is a very lonely endeavour, but the exciting part of the experience is when the play meets other people. Having conversations with the Pangdemonium team, receiving feedback from a wider audience at the developmental platform at SIFA, and now having the actors in the room—I get to learn new things about the play and expand it beyond what was a very personal piece that I had written for myself. Incorporating all these different experiences and perspectives of home really enriches the dramatic potential of the piece. So a lot has evolved, not just from when the play first met Pangdemonium, but from when I first wrote it five years ago by myself in a college basement classroom in Chicago. Has writing this play helped you to find some of the answers to the questions you were asking? C: For me, rather than answers, it's more about finding other people who feel similar, and discovering community and companionship through the power of art. That was a conversation I had with Tim as well—about having a more open-ended exploration of the play, and being okay to sit in the ambiguity of it. 'In Singapore, oftentimes, there's this almost ritualistic invocation of the idea of home' Timothy, as a director, what draws you to the plays that you choose to work on—and why this play in particular? T: I've been quite known in the scene for doing classic or classic-adjacent work. That is a big part of my desire to work in theatre, and that will always be there, but what I've also been pushing for in the last couple years is new plays and new young playwrights, because there is nothing more thrilling than being able to create something entirely new. That said, I think that there is a very strong through line in all the plays I choose to do, which is that they all concern intelligent, articulate characters who are faced with very difficult decisions. I like exploring the psychological aspect of characters, and I think this is true both for my classic work and for new plays. But with this piece, I was certainly drawn to it because the characters are so richly drawn and so complex that we learn new things about them every day, and I think that's what makes it fun. Was there an aspect of the play that you were most excited to tackle in the rehearsal room? T: It's no secret that there is snow in this play, and that's something I've been quite excited to play with. Obviously, we're not getting real snow on stage, but when you come see the show, you'll see how we tackled it. This show has some fun sets and scenic moments that we employ, so I'm very excited to tech it because I think that would be the final piece to the puzzle that we've been working on. C: I agree that the snow is very exciting. Winter is my favourite weather, and when I first started writing the script, I always knew this play was going to be set in the winter, because the dissonance of Singapore in the winter is very interesting. But this is such a personal piece for me, so the most exciting thing is really just having these characters and words and emotions that have lived within me for five years at this point come to life on stage. Singapore, Michigan was developed as a part of Pangdemonium's New Works Lab. Courtesy of Pangdemonium Have there been any challenges along the way? C: I have a day job—I'm a civil servant—so it's been a bit of a challenge for me to balance the rehearsal and script revision demands, plus my own personal life as well. T: I'm lucky that this is my day job [laughs]. Every piece presents different kinds of struggles, but weirdly enough, I actually think this has been going quite smoothly. Nothing particular comes to mind. C: I do think there was a degree of trepidation before coming into the rehearsal room, right? There were moments right before and right after we had the actors come in that I personally felt a bit without a safety net. And then afterwards, it was like, 'Oh, this is good. There's a lot to explore here. We're ready for the actors to attack it'. What has that been like—seeing the actors bring your words to life? C: It's really surreal. Words fail to describe that kind of feeling. What I will say is, as a playwright, the ideal is always to be able to create something that is flexible enough to fit different interpretations. That was something that I wanted the text to have. I wanted room for the actors to play and discover, so it's very heartening to see that validated. There is space for other collaborators to come in and offer their own additions, which is the magic thing that you always want in the theatre. T: And we have such intelligent performers in Ching Shu Yi, Shrey Bhargava and Zane Haney. Sometimes I feel the actors might know the characters in more intimate ways than we do, because they offer up interpretations of texts that we don't think about, and we're like, 'Whoa, okay, yeah, that makes so much sense'. I think that is the most enlightening part about the rehearsal process. 'As a playwright, the ideal is always to be able to create something that is flexible enough to fit different interpretations' Lastly, what are you most excited for audiences to see with this play? T: I'm excited for the audience to be challenged. I really like theatre that challenges audiences to think more deeply about situations or people or issues in a way that perhaps they have not thought of before. I would consider this play successful if it raises difficult questions for audiences, while still offering a fun and enjoyable theatrical experience. But I think at the heart of it, I really want the audiences to investigate what home means. What does it mean to belong, and how do you think about home when you're not there? C: When I wrote this play, I included a lot of twists and turns—kind of like the Alfred Hitchcock theory of drama being such that there is a bomb under the table. The audience knows it's there, but they don't know when it's going to go off. We've really amped up those twists and turns in the rehearsal room. Yes, I think it's important that the play explores important themes and provokes important reflections, but I'm also excited to see the audience react to the roller coaster ride that I hope we're creating for them. I feel like it would be very gratifying to see the different energy that each new audience will bring every night. Singapore, Michigan runs from 26 June to 11 July 2025.
CNA
16-05-2025
- Entertainment
- CNA
Singapore International Festival of Arts returns to heartlands with pavilion in Bedok
The Singapore International Festival of Arts is returning to the heartlands for the first time since the COVID-19 pandemic, with its largest showcase of local talents. This, as part of the government's pledge to make art more accessible for all. This year's SIFA will showcase 15 local works — the most in the event's history. The festival will go on for three weekends until Jun 1. Muhammad Bahajjaj reports.
Yahoo
30-04-2025
- Entertainment
- Yahoo
SINGAPORE INTERNATIONAL FESTIVAL OF ARTS 2025: MORE THAN EVER, WE KNOW WHO WE ARE
Returning from 16 May to 1 June 2025 with the theme More Than Ever, the Festival celebrates Singapore's cultural vitality, momentum, and boldness. SINGAPORE, April 21, 2025 /PRNewswire/ -- The annual Singapore International Festival of Arts (SIFA) returns from 16 May to 1 June with the theme More Than Ever. Organised by Arts House Limited (AHL) and commissioned by the National Arts Council (NAC), this 2025 edition of Singapore's pinnacle performing arts festival presents a dynamic line-up that spotlights Singapore's cultural vitality and boldness in defining its present and its vision for the future. As Singapore celebrates its 60th year of independence, the Festival marks an exciting chapter with its largest showcase of homegrown talent. It is designed to bring the arts everywhere, for audiences of all ages, and across diverse communities, establishing our identity as a creative city for the arts. Building on the theme, six curation strands guide the Festival and its programming: New Urban Realities; Classics Reinvented; History Reimagined; We, International; State of the Arts; and PRISM 48. Unveiled by Festival Director Natalie Hennedige at Singapore's Fort Canning Centre, SIFA 2025 will present an unprecedented number of 15 commissioned local works—the highest number in the Festival's history—including two works-in-progress first staged at SIFA 2024. The quality of these works is a testament to our commitment to develop a performing arts landscape fuelled by artistic talent, excellence and innovation. In line with efforts to increase accessibility for audiences from all walks of life, the Festival will also feature the SIFA Pavilion at Bedok Town Square, a transient arts space in the heart of the community that is charged with multidisciplinary artistic expression. With an emphasis on public engagement, the SIFA Pavilion is an arts touchpoint in our everyday spaces where Singaporeans live, work and play. It adds a powerful new dimension to the Festival's relationship with the shared public environment, a common space where narratives co-exist. This year's edition also sees the return of Little SIFA, situated at Empress Lawn, featuring works by Singapore artists, including an installation encompassing performance, and specially designed arts experiences for families and children. Through embedding arts experiences in key life areas, Little SIFA complements efforts to foster an appreciation for the arts in children from a young age. Furthering its international standing, the Festival also continues to feature a compelling line-up of invited presentations, and a new international commission. Offering diverse artistic perspectives through high-quality productions curated for local and international audiences alike, these presentations support the development of a globally connected performing arts landscape in Singapore. By boosting the visibility of local performing arts practitioners, we are paving the way for more collaborations with the larger creative industry. Reflecting on the theme, Festival Director Natalie Hennedige shared, "In a world afflicted with the rhetoric of divide, More Than Ever, we need to resist limiting binaries and relate to each other in nuance. In doing so, we uphold the station of the Arts as a vital space in society that explores differences in opinions, accepts otherness and maintains the past, present, and future as entities that perpetually influence and shape each other, engendering new narratives on a supple timeline that moves forwards, cyclically or in any imaginable configuration." Sharon Tan, Executive Director of Arts House Limited, added, "SIFA 2025 is a celebration of Singapore's cultural vitality and growth, presenting heartfelt stories that resonate deeply with local and international audiences. Through the theme More Than Ever, we aim to create powerful shared moments of connection and reflection, honouring the Festival's 48-year journey. We continue to make the arts more accessible by enlivening everyday community spaces with artistic encounters, and championing homegrown talent and showcasing Singapore's creative spirit in fresh and impactful ways. This is made possible by collaborations with artists, stakeholders, and communities such that the arts can form meaningful and lasting experiences for all." Low Eng Teong, Chief Executive Officer of NAC, said, "SIFA stands as a beacon of both local and international significance, bringing together the excellence of artistic practices to capture the pulse of our vibrant arts scene. Locally, we aim for the arts to be infused everywhere and for the public to be more engaged with the arts. Internationally, as Singapore continues to build our position as one of the key arts hubs in Asia, the Festival also underscores our capacity to facilitate critical discourse and meaningful connections through the transformative power of the arts. Through platforms like SIFA, we champion the exchange of ideas, inspire artistic innovation, and celebrate the distinct practices that define our local and international arts communities." Experience the performing arts in new and unexpected ways Against the backdrop of Singapore's 60th anniversary, SIFA 2025 celebrates the nation's evolving cultural identity by positioning Singapore artistic expression at the fore, while expanding global perspectives with the invitation of distinct international artists. Building on the tenets of the Festival's 48 years of history and legacy, SIFA's multi-layered programming embraces diverse contemporary expression, spotlighting the excellence of homegrown artists who play an integral role in shaping the nation's unique cultural landscape and our continued dialogue with the world through the arts. The 2025 edition features the SIFA Pavilion at Bedok Town Square, an environment created to engender collaboration, co-creation and gathering through the conduit of arts performance. Over the course of the three-week Festival, the SIFA Pavilion hosts multiple works that bring performance and the public together, becoming its own ecosystem that cycles through a multi-arts experience that sprouts endless creative possibilities. These works include: SIFA's opening performance The Sea and the Neighbourhood is a multidisciplinary work inspired by Bedok's coastal heritage, neighbourhood charm, and modernity. Anchored by a coral-inspired installation doubling as a stage, the presentation transforms the space into an artistic gathering of multidisciplinary expression featuring visual artist Wang Ruobing, composer Philip Tan, choreographer Christina Chan with Singapore Ballet, and video artist Brian Gothong Tan. Curated by SIFA, this large-scale work captures the ebb and flow of Singapore's collective past, present, and future. Inspired by Singapore's coral reefs and the nation's ambitious reef restoration efforts, visual artist Wang Ruobing's large-scale installation explores sustainability, climate resilience, and what it means to be a liveable island. Known for her environmentally minded works, Ruobing's installation captures the public's imagination as both an installation and a performance stage. Singapore theatre company Drama Box's hello, is this working? builds on its work-in-progress showing at SIFA 2024's Tomorrow and tomorrow platform. This interactive work invites audiences to reflect on the future of work and challenge societal narratives about labour. It also reflects the Festival's intent to encourage diverse ways of experiencing performance, activating new spaces for artists to reach broader audiences and communities by infusing the arts everywhere. Connecting younger audiences to the arts Little SIFA returns for its second edition, setting up camp at Empress Lawn and offering a curated series of family-friendly programmes by homegrown talent spanning two weekends. Little SIFA expands its scope to feature diverse art forms, including The House Between the Winds by Singapore artist Yang Jie. Set within a kinetic soundscape installation and performance, the work recalls the plantations that gave Orchard Road its name and the selfless trees that sustained its people. Continuing the Festival's efforts to introduce young audiences to the arts, Festivalgoers may experience a 30-minute adaptation of The Finger Player's Animal Farm, where George Orwell's iconic characters come to life in an unexpected setting. This production offers two unique experiences: the full theatrical presentation at the SOTA Drama Theatre and a free variation of the piece performed outdoors at Empress Lawn. In addition to these key works, Little SIFA aims to provide children with exposure to and engagement with Singapore's vibrant arts landscape from young, by offering a range of activities and performances, from puppetry to film, to facilitate memorable art encounters. Homegrown talents shine at SIFA 2025 SIFA stays committed to nurturing local talent and providing them with an international platform to reach more audiences, spotlighting Singapore artists through commissioned presentations. These commissions include: Waiting For Audience: Originally presented as a work-in-progress at SIFA 2024 as part of Tomorrow and tomorrow, this piece by Nine Years Theatre now occurs in its next iteration. Directed by Nelson Chia and Mia Chee, it explores the enduring vitality of theatre as an ancient art form, delving into the challenges of artistic creation and the timeless adage that theatre reflects society. COLONY – A True Colors Project: Directed by Remesh Panicker, this dance production features 13 diverse dancers from Singapore, Indonesia, Cambodia, Thailand, the Philippines and Japan. Seamlessly blending live performance with raw, unscripted rehearsal room footage, COLONY explores the challenges and possibilities of diversity in human society, and celebrates the individual within an interconnected, inclusive "colony" of souls. In LEAR, Glasgow-based Singaporean artist Ramesh Meyyappan transforms Shakespeare's classic through visual and physical storytelling. Collaborating with Scotland's Raw Material, Ramesh explores the fractures in familial relationships and the corrosive effects of a patriarch's deteriorating body and mind. Animal Farm, presented by The Finger Players, breathes new life into George Orwell's iconic tale. This adaptation, directed by Oliver Chong, fuses masterful puppetry with rich theatrical storytelling to offer a fresh, visually stunning take on Orwell's cautionary parable. In Umbilical by Rizman Putra, Zul Mahmod, and thesupersystem, the story of an island unfolds across time, navigating the interplay between natural forces and human ingenuity. This evocative work captures pivotal moments of transformation from ancient history to a speculative future. The Festival also features PRISM 48, a conversation series curated by writer, editor, and producer Hong Xinyi. Titled to reflect the multifaceted perspectives shaping Singapore's evolving cultural identity anchored on shared arts and culture, PRISM 48 explores our understanding of ourselves and our region, and the nation's place within global artistic circuits. A range of thinkers and cultural advocates, who work both locally and regionally, will be in dialogue about topics such as What Difference Can Singapore Storytelling Make, exploring and reframing cultural narratives through the performing arts and beyond. International perspectives at SIFA 2025 As part of the offerings catering to various audiences, SIFA 2025 also presents a distinct line up of four international works by artists creating with strong individual voices globally. HOME by Geoff Sobelle is a moving meditation on the relentless passage of time and a breathtaking spectacle of illusion, choreography, music, and storytelling that explores the everyday drama of what makes a house a home. Lebanese dancer and choreographer Ali Chahrour presents the second part of his trilogy on love in Told By My Mother, drawing inspiration from his family history and a fractured Lebanon. Joined by actress Hala Omra and the musicians of Two or The Dragon, the performance blends movement, song, and music rooted in Arab culture and urban sounds, evoking the deep and complex love between a mother and her child. Chilean playwright Manuela Infante brings Vampyr, a mockumentary that blends black humour with commentary on energy, labour, and environmental concerns. Set in Chile's unregulated wind turbine parks, it follows shapeshifting creatures—half-human, half-animal—offering a perspective that bridges European myths and the plight of Chile's hematophagous bats. Vampyr explores the relationship between non-humans (read: animals) and how we engage with their cultures in the context of mankind's energy ambitions for the future. For more information, please visit More details on SIFA 2025 can be found in the following Annexes: Annex A: Information on SIFA 2025 Programme and Artists Annex B: Ticketing Information ### Follow #SIFA2025 on: Website: Facebook: Instagram: Twitter: YouTube: About Singapore International Festival of Arts As Singapore's annual pinnacle performing arts festival, the Singapore International Festival of Arts (SIFA) presents captivating and diverse works across theatre, music, dance, film and visual arts. First launched as the Singapore Festival of Arts in 1977, the Festival has gone through several evolutions and inspired generations of arts lovers and practitioners. Today, the highly anticipated Festival is a high point on Singapore's arts and cultural calendar. SIFA continues its Festival mission to champion the creation and presentation of Singaporean and international works. About Arts House Limited Arts House Limited (AHL) is a not-for-profit organisation dedicated to inspiring and enriching lives through the transformative power of the arts. We proudly organise two flagship national festivals: the Singapore International Festival of Arts, a celebration of the local and international performing arts, and the Singapore Writers Festival, a multilingual festival presenting the world's leading literary talents. At the heart of AHL's mission are six arts spaces designed to support our vibrant arts sector and forge connections within communities. It includes two national monuments—The Arts House, a multidisciplinary arts centre, and Victoria Theatre & Victoria Concert Hall, a heritage building that is home to the Singapore Symphony Orchestra. AHL also runs the Drama Centre, a dedicated performing arts space, as well as three creative enclaves for arts groups and innovative enterprises: the Goodman Arts Centre, Aliwal Arts Centre, and Stamford Arts Centre. Established in 2002 as The Old Parliament House Limited, AHL transitioned to its current identity as Arts House Limited in 2014. As a public company limited by guarantee under the National Arts Council, we remain steadfast in our mission to champion the arts as a powerful force for positive change. For more information, visit About the National Arts Council The National Arts Council (NAC) is a statutory board under the Ministry of Culture, Community, and Youth that champions the arts in Singapore. The Council promotes artistic excellence by providing diverse opportunities for artists and arts organisations while expanding access for audiences to appreciate the impact of the arts in enriching lives. By working closely with the arts community and partners, the Council seeks to build a connected society, creative economy and distinctive city through the arts. For more information, visit View original content to download multimedia: SOURCE The Singapore International Festival of Arts (SIFA)
