How To Break A Window II: Triple Bill and Youth Forum
Current. Intelligent. Nuanced. How To Break A Window II features a triple bill showcasing three winners of the 24-Hour Playwriting Competition 2021. After a process of writing, creation and production collaborations with a community of artists, the writers, Amanda Chong, Melizarani T.Selva and Yin Mei Lenden-Hitchcock, unveil their winning pieces. Directed by Sim Yan Ying “YY” and Shona Benson and cast including Jo Tan, Tysha Khan, Rebekah Sangeetha Dorai, and many more.
How To Break A Window II (Live and Live-streamed on Peatix)
Triple Bill
Featuring Amanda Chong and Melizarani T.Selva, winners of the 24-Hour Playwriting Competition (Open Category, 2021) and Yin Mei Lenden-Hitchcock, winner of the 24-Hour Playwriting Competition (Open Category, 2019).
Youth Forum
How To Break A Window II hosts a Youth Forum focused on emerging playwrights in the 15-20 age category. Two winning scripts from the 24-Hour Playwriting Competition Youth category will be staged as readings — Effets de soir (Effects of the Evening) by two-time champion Sarah Zafirah and 80s Power Hour by Tania Lam. Alongside the staged readings are presentations of youth writing development and discussions led by Ang Kia Yee. Ang had participated in the same competition, in the youth (2013, 2015) and open (2018) categories, and is now an emerging playwright and artist.
Ticketing
Seats for ‘live’ shows are arranged in either single or in pairs. Also available is a simultaneous live-streamed broadcast. Available on Peatix, the official ticketing partner.
Live event
• Single seat: $25
• Double seats: $50 (best for those attending in a group of 2 pax or more)
Live-stream event
• Live-stream on Peatix: $10
This event has concluded.
Youth Forum
• Free with registration
Registration has closed.
Synopses of staged plays and readings
#WomenSupportingWomen by Amanda Chong
It is the Young Women’s Empowerment Forum. Karina Teng, the youngest female partner in a prestigious law firm, is poised to impart her wisdom to the hordes of Gen Z women who regard her as a role model in a male-dominated industry. Unexpectedly, Karina is thrust into a Zoom breakout room with Sara Ismail, her former intern, whose experiences throw into question Karina’s #girlboss sloganeering…
#WomenSupportingWomen maps the vast expanse of greys behind the glib hashtag of solidarity, and unpacks the performances expected of women as leaders in the workplace — and as victims in the courtroom. The play’s hybrid staging explores the incongruities of Zoom in our post-pandemic world, where we are forced to project our public selves while in our most private spaces.
Kudumbam by Melizarani T.Selva
A father seeks his daughter’s help to dismantle the family’s dining table, without telling her why. While breaking away each leg, they find themselves unravelling the grief and gain of dividing a family and leaving a country behind. Kudumbam wrestles with the language we use to unite and fracture, through the lens of an Indian family unit against the backdrop of Malaysia’s turbulent multiracial landscape.
Green Leaves by Yin Mei Lenden-Hitchcock
Eve can be anything but happy. Ashamed, she flees into the branches of the Tree for an answer. But how can she hide her shame when it is the very fruit she ate? Performed on aerial silks, Eve’s struggles to find self and meaning is played out as she gets tangled up in the very thing she goes to for comfort and purpose.
Effets de Soir by Sarah Zafirah
Leila’s life is upturned when Dad, recently released from prison, comes to stay with her. While she makes every means to stay positive and supportive, memories of the past threaten to open up old wounds. Effets de Soir designed as an art gallery tour with theatrical performance and Augmented Reality application, confronts trust between familial relationships and how blood may not be thicker than water.
80s Power Hour by Tania Lam
Marco and Andre, separated by space and time, developed a magical though short-lived friendship. One in the present, the other living in a different time, almost 40 years apart. 80s Power Hour tells the story of the need for connection in a time of loneliness and separation.
Writers’ biographies
Amanda Chong is a lawyer trained in Cambridge and Harvard, who writes when she should be sleeping. Her first collection of poetry, Professions (2016), was shortlisted for the Singapore Literature Prize in 2018. Her interest in exploring themes of gender and power in her creative and academic writing has led to being published in the Harvard Journal of Law and Gender. She also co-founded ReadAble, a non-profit which aims to improve social mobility by empowering children and migrant women with literacy. (http://www.amandachong.com)
Melizarani T.Selva is a Malaysian writer and spoken word poet, with notable performances at ZEE Jaipur Literature Festival and TEDxGateway. Her first book, ‘Taboo’ is a poetic exploration of her Master’s thesis on the constructs and representations of the Malaysian Indian Identity. She has co-published an anthology of 100 poems by 61 poets from Malaysia titled ‘When I Say Spoken, You Say Word!’. She can be found at melizarani.com. Kudumbam is her first play.
Yin Mei Lenden-Hitchcock, a full-time educator and part-time art-maker, it’s been 10 years since Yin Mei last fully exercised her acting chops after graduating from the second batch of Young & W!ld. Unable to leave theatre, she went on to pursue her Masters in Education (Drama). She won the first prize in the Open Category of the T:>Works 24-Hour Playwriting Competition in both 2012 and 2019 after discovering she writes best under pressure. Yin Mei is also an accomplished aerialist and has performed for Esplanade’s Aerial Open Stage in 2020 and 2021.
Sarah Zafirah is a fresh graduate from St. Joseph’s Institution. Having become rather acquainted with the ‘O’ Level Drama syllabus in her alma mater, CHIJ Katong Convent, Sarah hopes to become more involved in the Singaporean theatre scene. Her hobbies include regular cat-cuddling, reading up on social issues that she is passionate about, and of course, writing. She hopes that her creations can serve as an insight into the mind of a teenager living in uncertain times, seeking answers to unknown questions.
Tania Lam recently graduated from secondary school. Despite lacking prior theatre experience, Tania always had a passion for storytelling. Spending time playing video games, reading novels and generally consuming a wide array of media; Tania wants to write stories that people will find meaningful and be able to see themselves in one way or another.
24-Hour Playwriting Competition 2021 Winners
OPEN CATEGORY:
• First Prize: #WomenSupportingWomen by Amanda Chong
• Second Prize: Kudumbam by Melizarani T.Selva
• Third Prize: Self-Care by Wan Nur Syafiqa Binte Syed Yusoff
YOUTH CATEGORY:
• First Prize: Effets De Soir (Effects of the Evening) by Sarah Zafirah
• Second Prize: 80s Power Hour by Tania Lam
• Third Prize: Ghost Republic by Chen Enying
Actors’ biographies for Triple Bill
Arielle graduated from the School of The Arts Singapore with a specialisation in Theatre and is currently pursuing her passion for acting. Having had the opportunity to explore multiple roles in the theatre and film industry, including actor, stage manager and producer, Arielle is excited to learn and explore as much as possible from those around her, and engage in any opportunities to create meaningful, wonderful performances.
Sangeetha Rebekah Dorai is an actor, singer and voice artist. Addressing race, sexuality and identity, Sangeetha’s show “Building A Character” premiered at the Singapore Theatre Festival in 2018. A commission by Wild Rice for the 6th Singapore Theatre Festival, it was the first time that an actor of Indian descent had helmed a monologue in the Festival’s history; the sold-out show was also featured as The Business Time’s Top 3 theatre picks of the Year. She also scored a Best Supporting Actress nomination at the Life! Theatre Awards Singapore for her multi-character turn in “Three Fat Virgins Unassembled” (T:>Works, N.O.W. 2019) directed by Grace Kalai. Other selected performance credits include “Discord of Discourse” (UK), “Miss British” (Esplanade Studios), “Eloquence” (T:>Works, directed by Chilean director, Manuela Infante). “Merdeka” (Wild Rice), “Who’s There” (The Transit Ensemble), “The Coronalogues” (SRT), “Two Songs and a Story” (Checkpoint Theatre), “NDP 2020”, and “subtitled 1.0” (BTG).
As a singer, Sangeetha debuted her solo jazz concert “Sangeetha Sings Sinatra: Live at the Esplanade” in early 2019, and recently sang in “Edith Piaf – No regrets” (Singtheatre). Her next concert, “Sangeetha and Simone”, is slated for 2022.
Ahamed Ali Khan has been a TV and Stage Actor since 1990.
Having performed under Stars, The Necessary Stage, TheatreWorks, and Agni Koothu, his fond memories of characters he played are Gandhi and Subhash Chandra Bose. The one Artistic Director he will always mention is none other than Elangovan, the Artistic Director of Agni Koothu.
“He is the first Director to give me that chance to act in a Tamil Play, and I have never refused to be a part of the cast, when he asked me.”
Jo Tan is an actor of almost 20 years who eventually won the Life! Theatre Awards Best Actress Title after going to clown school (Ecole Philippe Gaulier under a National Arts Council Residency) and acting in a play she wrote herself (Forked, with The Finger Players). To see if that trick would work more than once, she’s written other shows to perform in (King, Pivot, Session Zero) to generally good reviews. She thinks it’s nice to perform someone else’s amazing script for once. At some point, she also joined Kiss92 FM as a deejay.
Tysha Khan is an artistic force, known for her versatile acting and powerful writing. Her practice centres on distilling truth and presenting it in a simple way, fully harnessing the given medium, in order to facilitate understanding. she is the first female Malay-Muslim graduate of the intercultural theatre institute and a 2017 recipient of the Goh Chok Tong Youth Promise Awards. Since graduating, she has worked mainly on-screen and can be spotted on Suria, Channel 5, and Viddsee. #WomenSupportingWomen marks her return to the stage since the pandemic.
Actors’ biographies for Youth Forum
Nessa Anwar has written, acted and produced for theatre, television and video. Nessa began acting under companies like Singapore Repertory Theatre’s Young Company and Teater Ekamatra. She graduated in Philosophy from NUS, studying playwriting and screenwriting. She has staged two full-length plays, Riders Know When It’s Gonna Rain and Rumah Dayak. She is a founding member of Singapore playwright collective Main Tulis Group and co-founder of theatre group Rupa co-lab.
Rafaat Haji Hamzah is a household name in Singapore’s television, theatre, and arts scenes, mostly known for his distinctive style in his works. Graduated from the Royal Melbourne Institute of Technology (Fine Arts), his talent stretches from painting, acting, poetry writing, art directing, producing and directing.
His works are bold, succinct and echo issues close to the heart of his people. His simple, everyday language makes his pieces palatable for about just anyone.
As an artiste, Rafaat leaves no space of compromising truth, sincerity and honesty in his works. His undeniable passion plays catalyst in the honing of his craft and fuels his dedication to the Singapore arts and entertainment scene.
Lim Wei Wen Wayne is a Singaporean-Chinese actor and graduate at LASALLE College of the Arts under the BA(Hons) Acting programme.
Upon graduation, Wayne was casted as Yi Kai in “Lion” as part of The Wright Stuff Festival 2021 organised by Toy Factory. Teck Kit in the virtual theatre experience – “Murder at Old Changi Hospital” by Sight Lines Entertainment. Currently, he is rehearsing for “PLAYtime! Imagination Station” – a children’s house theatre play by the Esplanade.
Presently, you may find yourself interrupted by him in commercials.
Joel is a recent graduate from LASALLE College of the Arts BA(Hons) Acting program. As an actor, host, and dancer, Joel is thankful that he has been given the tutelage and resources to join the performance industry, in hope to bring more stories to life. Moreover, Joel is highly invested in voice training in Singapore and aspires to join the ranks of local voice teachers.
Leanne is a graduate of LASALLE’s Acting BA(Hons) Program 2021. Prior to this, she was also part of the first batch of LASALLE’s Diploma in Performance Program in 2014. She regards herself as a passionate and versatile actor, with a burning commitment for acting since she was 12. She works towards empathising with every character she takes on. For those of you who may be wondering, Leanne is half-Eurasian and half-Peranakan.
Seethoo believes very firmly that every element of life should contain at least a smidgen of joy. As an actor and an educator, he tries his best to bring his own brand of joy to wherever he goes, be it the film set, the stage, or the classroom.
Presenting: How To Break A Window II
Started in 2020, How To Break A Window stages the winning entries of the 24-Hour Playwriting Competition. Last December, five winners were featured, with three fully produced hybrid productions – Third Eye by Wong Chen Seong (First Prize Winner, Open Category 2020), Tadka by Carolyn Camoens (Second Prize Winner, Open Category 2020) and The Correspondence by Sarah Zafirah (First Prize Winner, Youth Category 2020).
Following the 24-Hour Playwriting Competition in 2021, How To Break A Window II will return to feature new winning scripts.
How To Break A Window
Tickets sales on Peatix have ended.
From 16 – 19 Dec 2020, T:>Works presents How To Break A Window. Expect a series of digital and hybrid productions, live staged readings and conversations on digital performance, featuring the brilliant winners of the 24-Hour Playwriting Competition 2020.
How To Break A Window is a nod to the ingenuity of the featured playwrights, who approached the 24-Hour Playwriting Competition’s 2020 stimulus ‘Window’ with such pathos and creativity, akin to breaking a window in order to discover a new world.
“In this uncertain time when fully-packed theatre halls may not return to us in the immediate future, How To Break A Window is our attempt to reimagine theatre in an ever-changing world. With the return of a limited live engagement, T:>Works wishes to celebrate liveness with its audiences, in combination with digitalised performances. The physical gathering allows us to engage in different dialogues face to face beyond the comfort zone of the digitalised realm. With How To Break A Window, T:>Works will instead forge forward in challenging previously held notions of performance writing, methods of performance, strategies of craft, and, stretching the capacity of the audience to experience art in new ways.”
– Noorlinah Mohamed, who conceptualises and helms How To Break A Window
Join T:>Works in this theatrical experiment at 72-13 or online at Zoom!
Bonus: Video-on-Demand Director’s Cut of the three digitally produced plays: Tadka, The Correspondence and Third Eye
Missed the dates of How To Break A Window? Fret not – we will be releasing the Director’s Cut of the three digitally produced plays via Video-on-Demand. The Director’s Cut will also include insights from artists and behind-the-scenes footage, and will be made available from 20 to 23 December.
This event has concluded.
Join us in a virtual conversation with the collaborators of How To Break A Window.
In How To Break A Window, directors, filmmakers and playwrights spend one month playing with different artistic tools. Each has their way of navigating the digital and liveness. Did they break the form? How did they negotiate the challenges? What insights did they gain? Join them in this rousing discussion that concludes the T:>Works season for 2020.
Learn more about the programme and our collaborators in the programme brochure [PDF]:
Programme Brochure
About the Productions of How To Break A Window
Digital production:
Tadka
Ticketing:
Home Theatrical Option:
17, 19 Dec
Hybrid Theatrical Option:
16 – 19 Dec
Ticket sales have ended
Second Prize, Open Category 24-Hour Playwriting Competition 2020
Written by Carolyn Camoens,
directed by Jasmine Ng
Tadka is the story of life when life gets in the way. Geeta tries to create a space for herself, while she settles into her new life in Singapore. While trying to teach the recipe for her chicken curry, she has to contend with multiple other demands on her time, with distractions forcing her to confront new realities, while also revisiting some beloved memories.
Carolyn Camoens is a storyteller by craft and communicator by profession. She has written for page, stage and screen. As a communications professional, she has consulted for the world’s leading brands across sectors. Carolyn is an advocate for the power of stories to transform the way we engage, inspire and transform. She is happy reading a great story but happier still when she is shaping one – for clients, readers or audiences.
Jasmine Ng is a filmmaker who tells stories across platforms, from film to television, to theatre and site-specific installations. She has conceptualized cross-disciplinary works, with installation projects in various public spaces in Singapore. Being an advocate for the film and arts community, and the creative industry, she co-founded the Singapore Association of Motion Picture Professionals and is now the current president.
Aiswarya Nair has been performing from a young age in school plays back in India. She is also a trained dancer in Indian classical forms. She rekindled her passion for acting in mid-2014, after attending some acting workshops. She has quit her career as an IT professional to pursue acting full time. She is a multilingual actor and has since acted in various theatre productions in English, Hindi, Tamil and Malayalam Languages. She has appeared in various TV series and Government commercials. She has also been part of award winning short films and herself won awards for her performances.
Digital production:
The Correspondence
Ticketing:
Home Theatrical Option:
16, 18 Dec
Hybrid Theatrical Option:
16-19 Dec
This event has concluded.
First Prize, Youth Category 24-Hour Playwriting Competition 2020
Written by Sarah Zafirah,
Directed by Kaylene Tan
The Correspondence surrounds the fraught relationship between the protagonist, Hal, and his father Adam. Juggling familial expectations and a personal transition into adulthood, Hal struggles to understand the parent, who he slowly finds to be strangely similar to himself. Upon receiving news of his father’s death, the young man is confronted with unfinished business in the midst of disconcerting grief. Presented through a series of memories and a non-linear timeline, Hal attempts to reconcile his perception of his father with his own difficult reality. The Correspondence delivers a powerful message on the difficulty of forgiveness and acceptance, in a time when such conclusions are not easily reached.
Sarah Zafirah is a Year 5 student in the International Baccalaureate Program at St. Joseph’s Institution. She inhales both donuts and the written word. Having become rather acquainted with the ‘O’ Level Drama syllabus in her alma mater, CHIJ Katong Convent, Sarah hopes to become more involved in the Singaporean theatre scene. Her hobbies include regular cat- cuddling, reading up on social issues that she is passionate about, and of course, writing. She hopes that her creations can serve as an insight into the mind of a teenager living in uncertain times, seeking answers to unknown questions.
Kaylene Tan writes across media for theatre, film and television. As director of performance company spell#7, she has been commissioned by arts institutions (Esplanade – Theatres on the Bay, National Gallery Singapore) and festivals (Singapore Arts Festival, Singapore Biennale, Georgetown Festival) and collaborated with numerous independent companies and artists. Her headphone theatre production of In the Silence of Your Heart (Esplanade Studios) won Best Sound Design at the 2018 Life! Theatre Awards. Recent works include Missing, co-written with filmmaker, K. Rajagopal (Page to Stage, Arts House); and Lost Cinema (Brian Gothong Tan), which was screened on Esplanade’s Offstage site in June 2020.
Peter Yu (Yu Hongrong) is a veteran Singaporean actor who was awarded the prestigious Star Award for broadcast television. Having played in many award-winning television series since the early nineties, Peter has amassed an impressive body of work, ranging all genres, and is well-loved by his fans who have grown up watching him over the years. More recently, he has ventured into films and starred in the short film For We Are Strangers in 2015, which premiered at the 20th Busan International Film Festival. In 2018, Peter landed his debut role in a feature film in A Land Imagined.
Theo Chen is a theatre practitioner currently in National Service. He has performed in Ionesco’s The Lesson, The Laramie Project, The Normal Heart, and The Vagina Monologues – also directing the latter two. He co-artistic directed the all-night arts festival Nuit Blanche, and is currently working on a one-on-one piece, Nights Ago When I Felt Blue, for performance in 2021. In 2020, he started a playwriting collective (@playwrightscommune) to develop new work for the stage. He is honoured to be working with T:>Works.
Hybrid Performance:
Third Eye
Ticketing
Hybrid Theatrical Option:
16 – 19 Dec
This event has concluded.
First Prize, Open Category
24-Hour Playwriting Competition 2020
Written by Wong Chen Seong,
Directed by Casey Lim
Rating: Advisory 16 (Some Mature Content)
After years of living abroad, Seong has been asked to return home to be with his family when his father takes ill. Upon his arrival in Singapore, he has to stay in quarantine before he can go home. In isolation, he soon realizes that he is not alone in his hotel room – whether with his own thoughts, memories or ghosts from the past or present. Does having a third eye mean never being able to have solitude or peace?
Live staged reading: La Façade
Ticketing
Home Theatrical Option:
17, 19 Dec
This event has concluded.
Second Prize, Youth Category
24-Hour Playwriting Competition
Written by Bernadette Koh,
Directed by Noorlinah Mohamed
Rating: General
A family lives in a city where curtains are not allowed. Windows of homes are left unblocked so that officials may visit at different intervals to check on the residents’ safety and well-being. “It’s for the citizens’ protection,” says the mother. But the children, Julian and Winnie, do not think so. Find out what happens to their lives as one of the children decide to put up curtains on their window in an act of defiance.
Bernadette Koh is a Year 3 student from the School of the Arts (SOTA), specializing in theatre. Her performance roles include the voice of Wheelabelle in the Year 5 film production of Wheeliam as well as roles in school productions of Drunken Prawns (Desmond Sim), Doors (Suzan Zeder) and The Coffin Is Too Big For The Hole (Kuo Pao Kun). She is currently supplementing her theatrical studies through the LAMDA programme at Pangdemonium and seeks to develop her skills as a playwright and actress.
An award-winning actress of stage, television, and film, Noorlinah Mohamed has worked in Asia, Europe, and the United States. She is also a teaching artist, and a consultant in arts pedagogy with a Ph.D. in Arts Education from the University of Warwick. Noorlinah is a recipient of the JCCI Cultural Award (2008) and the Women’s Weekly Women of our Time Award (2005) for her contributions to the arts. In 2019, she was one of the featured women artists in TheatreWorks’ 2019 season of Women & Voice.
Caroline Fernandez has been having an unrequited love affair with local theatre since 1990. These days, she sings, dances and acts for her three cats, Snowy, Georgy Girl and Flynn, instead. They, too, remain unimpressed…
Tejas Hirah is a 21 year old theatre practitioner who has been studying and performing theatre for 7 years. He is an alumni of SOTA’s theatre programme and is now pursuing a BA (Hons) in Acting at Lasalle College of the Arts. Being of mixed heritage, Tejas is extremely passionate about telling stories pertaining to identity and what it means to be a Singaporean in the 21st century. As an alumni, he is delighted and proud to be reading a winning script by his junior.
Sanjana Lakshmi is 15 this year and has enjoyed performing from a young age. As her interest became a passion, she looked towards theatre more seriously and sincerely. She is currently a student at SOTA and have been involved in multiple theatre productions since. As a fresh actor, Sanjana feels that she still has much to learn. Sanjana feels that How To Break A Window has presented her with a chance to work with and learn from seasoned professionals and new voices alike. She hopes to continue learning and developing along the way.
Live Staged Reading:
Onthakan – The Blue Hour
Ticketing
Home Theatrical Option:
16, 18 Dec
This event has concluded.
Third Prize, Open Category
24-Hour Playwriting Competition 2020
Written by Rajkumar Thiagaras,
Directed by Kaylene Tan
Rating: Advisory 16 (Mature Content)
During the height of Covid-19, when a quarantined world rests on uncertainty, two former university mates spend an unassuming hour on Zoom as they reconnect over their love for literature. As time closes in on them, will an Indian man from Singapore and a Thai man from another world be able to deal with their past, and their feelings for one another, before the hour is up? Onthakan – The Blue Hour explores the pathos of physical and metaphysical distances as two lost souls pine for a connection across an unsurmountable divide between time and space.
Jaisilan Sathiasilan is an actor by night/doctor by day. The dream to pursue both passions was ignited when he watched a play at age six. He was last seen in the radioplay Hook And Eye (The Second Breakfast Company) and Locker Room God for Pathey Nimidam in Kalaa Utsavam 2020. He is a member of the Brown Voices playwriting collective that aims to write more Indian narratives. His first written piece Bread Tags a dementia themed 10 minute play debuted at Late Night Texting 2019. His works on stage include Exit (Dramabox) 2018 edition directed by Rei Poh and Excavations directed by Hui Ling. He can be easily kidnapped with a trail of chocolate cakes/brownies.
Salif Hardie was born in Singapore and is of Australian and Malay descent. As a child actor, he performed in Wild Rice’s 2005 pantomime, OI! Sleeping Beauty! and was also leading cast in two children’s programmes on national television. He pursued his formal training at LASALLE College of the Arts Singapore in the BA (hons) Acting programme. Salif has, since graduation, quickly become actively involved in the Singapore scene, performing in both english and malay, whilst constantly searching for international opportunities. His stage and screen credits include: Metellus Cimber in Julius Caesar (Singapore Repertory Theatre); Prentiss in Peter and the Starcatcher (Pangdemonium); Jaden in Lion Mums 3 (Mediacorp, Channel 5) and Johan in Azam & Johan (Mediacorp, Suria). His international credits include: The Man in Xalisco, a Place (Festival Internacional Cervantino 2019, Mexico); Waiter in an episode during Season 3 of Westworld (HBO).
Other collaborators
Hei Studio produces original content from commercials, narrative short films, documentaries, music videos, video installations and photography. It highlights working with creatives from various art forms – literature, dance, music, theatre, visual arts – presenting multidisciplinary performances, exhibitions, and films as a key direction. To the founders of Hei Studio, Clare Chong and Aaron Andrew Ang, ideas want to evolve, and its process is innately collaborative. Hence, Clare and Aaron seek to support artists and filmmakers through an open co- development process that places ideas at the heart of their creation.
James Khoo is the director of Pangolin Films, which specialises in creative trailers and multimedia work. Apart from bein a renowned performance archivist in Singapore, James’ company is also a social enterprise that works on content dealing with social and environmental issues. James creates the camera edits for Third Eye (Part 2).
Hanafi Haffidz is a documentary filmmaker with a keen interest in topics on consciousness and the true meaning of self. When not behind the lens, he tinkers with DIY electronics projects and terrorises his three cats. Hanafi is the camera director of Tadka.
Learn more about the other winners of the 24-Hour Playwriting Competition 2020 here.
