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On its 60^th anniversary, the Singapore Youth Festival (SYF) introduced a new Drama Category for Primary School Students. It aimed to provide more opportunities to engage with the arts, build confidence, as well as develop communications skills in English and Mother Tongue Languages. For drama educators in Singapore, there emerged a salient point: this the first non-competitive category in the festival.

For Ghazali Muzakir (Ghaz), this was a refreshing new direction. Even with no competitive component, his students still strove to do well. So, what comes next? Ghaz shares with us how he adapted, what the change means for him, and how we can venture further with this new direction.

How did you feel when you first learned that SYF Drama for Primary School was happening?

I was genuinely excited. I think introducing Drama as a non-competitive category at the primary level is a positive step. It reflects an educational philosophy that values learning, creativity and the process of making theatre together.

At the same time, I was curious about how that philosophy would be experienced in practice. Changing the format is an important first step, but I also wondered what it would take for the rest of us (schools, teachers, instructors and parents) to embrace that mindset. Looking back, I think that became one of my biggest takeaways from the experience.

This experience reminded me that there can sometimes be a gap between policy, practice and lived experience. The policy sets the direction, but it is our everyday interactions as adults that determine how children ultimately experience it.

How did you prepare for the performance?

I only worked with one primary school, so my preparation was focused on building one ensemble rather than preparing across two schools.

One practical consideration was preparing for unexpected situations such as illness or student absences on the performance day. We decided to have two casts so that the production would remain resilient if someone became unavailable.

Looking back, I also realised that this introduced an interesting challenge. Even within a non-competitive SYF format, having two casts can unintentionally create comparisons between groups. We tried to address this by giving both casts opportunities to perform during an internal showcase, so every child had a meaningful performance experience. Even so, I think children naturally compare themselves with one another. That reminded me that changing the structure alone doesn’t automatically change how achievement is perceived.

How did the rehearsals feel for this, given that there was no competitive component?

The atmosphere was certainly different, but I don’t think competition simply disappears because the rules change.

Children naturally want to do well, and adults often do too. I found myself becoming more aware of how my own expectations could influence the rehearsal room. Instead of focusing on whether we were “better” than another school, I tried to bring the conversations back to questions like, “What are we learning?”, “How are we supporting one another?” and “How can we tell this story more truthfully?”

For me, the experience highlighted that a non-competitive framework is an invitation rather than a guarantee. It invites all of us to rethink how we define success.

What was the biggest change that you saw in your students throughout the process?

The biggest change wasn’t simply that they became more confident performers. It was seeing them become more confident collaborators.

They learnt to listen to one another, solve problems together, take responsibility for the ensemble and recover from mistakes without giving up. Watching them support one another during rehearsals was just as meaningful as watching the final performance.

Those are the moments I hope stay with them long after they have forgotten their lines.

How do you hope to continue sharing the joys of drama and theatre among the schools you teach?

I hope to continue creating spaces where children experience drama as more than performance. Theatre is a place where they can imagine, experiment, make mistakes, reflect and grow together.

I also hope we continue the conversation about what success looks like in arts education. I think the new direction for Primary SYF Drama is a meaningful one. The next step is for all of us (schools, teachers, instructors, parents and organisers) to intentionally align our practices with that philosophy.

Ultimately, children experience what the adults around them model. If we can shift our conversations from comparison towards curiosity, growth and collaboration, I believe the full potential of this initiative will become even more meaningful for future cohorts.

Even in its 60^th year, the Singapore Youth Festival (SYF) remains committed to empowering young artists to develop their creative voices. This year, SYF announced the new Drama Category for Primary School Students, enabling over 1,600 students across 60 primary schools to bring their stories to life.

It was a full-circle moment for Luanne as she takes on the role of an adjudicator for the category. She recalls the joy when she took part in SYF herself. So, when the festival approached her for a pilot of this direction in 2025, she and her team wanted to balance between the craft and the joy for all the students. Here’s how she managed:

What was it like when you were first approached to become the adjudicator for the SYF Drama for Primary School?

I was pleasantly surprised when I found out that Drama was finally being introduced to the Primary School category. I took part in the Singapore Youth Festival (SYF) myself when I was in secondary school, and it was such a memorable experience. I still look back on it very fondly, so I had always assumed that Primary Schools were already part of it. It was really exciting to be invited to be part of this new milestone.

How did you approach adjudicating the SYF Drama for Primary School?

During the pilot in 2025, which I had the privilege of being involved in, we spent a lot of time thinking and discussing about what would be most appropriate for students of this age. We wanted to find a balance between recognising good theatre-making and creating a positive, encouraging experience for the children. At the end of the day, we wanted them to enjoy being on stage, express themselves freely, and let their natural energy and joy shine through.

What was the one thing you kept in mind during the adjudication?

That I will always want to find and applaud the effort by the students onstage, and so that we can offer them words of affirmation immediately after each performance, in front of their family and friends.

What’s the biggest takeaway from your time adjudicating the SYF Drama for Primary School?

One of my biggest takeaways was that every group needs to be appreciated within the context of the resources they have, both naturally and through the support they've been given.

By "natural resources", I mean the students' age, cognitive development, and individual abilities. A group of Primary 2 students and a group of Primary 4 students can look and perform very differently, and that's to be expected.

The other part is the resources they've been given. The guidance of their teachers and drama instructors plays a huge role in shaping their experience and performance onstage. A great instructor doesn't just train students to be technically proficient - they create an environment where every child feels confident to contribute, and where the strengths of the ensemble can really shine, or vice versa.

That reminded me that good adjudication isn't about comparing one school against another. It's about recognising what each group has achieved with the resources available to them, and celebrating authentic growth, creativity, and collaboration. 

How do you think primary schools can approach drama and drama education beyond SYF Drama for Primary School?

I think it's important for schools to see drama as more than just something students do for a performance or competition. Drama is really about helping children develop confidence, empathy, creativity, and the ability to work with others. Those are skills that stay with them long after they've left the stage.

The SYF is a wonderful milestone, but it shouldn't be the end goal. Drama can be part of everyday learning—whether it's through classroom activities, storytelling, role play, devising, or simply giving students opportunities to express themselves and their ideas.

When we focus on the process as much as the performance, students gain so much more. They learn to listen, collaborate, solve problems creatively, and support one another. If schools can nurture that joy of exploration and play, I think they'll be building not just stronger performers, but more confident and thoughtful young people.

The earlier a child finds their confidence, the earlier they gain the capacity to navigate the world around them. 

We’re very happy to be back working with the Singapore Indian Development Association (SINDA) on their Literacy & Numeracy Programme (LYNN).The programme helps children aged 5 to 6 prepare for Primary Education through interactive, spontaneous learning.

SINDA’s efforts to bring creative play to early childhood education perfectly align with SDEA’s mission of advocating for the practice and value of drama and theatre in education. 

Since 2024, SDEA has proudly partnered with SINDA to bring these core learning concepts to life, utilising process-driven drama for embodied learning to help children become confident learners. Through drama exercises and games, the educators encourage these children to play, explore, and be curious about the world around them.

This is our second year of working on the LYNN programme, and we continue to see the impact of the sessions. Parents have told educators their children genuinely look forward to the sessions. One of the parents, Mahlini, was kind enough to share her experience with us. It was her 5-year-old son’s first time attending the programme, and Mahlini already hopes that the programme continues.

Take a read below:

What were your first thoughts when you learnt that your child would be learning literacy and numeracy through drama? 

I was curious and excited because I thought it would make learning more engaging and enjoyable. 

What changes have you noticed in your child since joining the programme? (For example, in their confidence, communication, participation, or enthusiasm for learning.) 

He is more confident, participates more actively, and is more enthusiastic about learning. 

Was there a particular moment or experience that stood out to you and made you feel the programme had made a difference for your child? 

Seeing him happily share what he learnt at home and confidently take part in activities made me realise the programme was helping him. 

How do you think the drama activities helped your child learn in a different or more meaningful way? 

Drama made learning fun and interactive, which helped him understand and remember concepts better. 

Would you like to see this programme continue for your child? Why do you feel it is important for the programme to continue? 

Yes. It builds confidence, encourages communication, and helps children enjoy learning in a supportive environment. 

What would you say to other parents who are considering a programme like this for their child? 

I would highly recommend it. It's a fun and engaging way for children to learn while building confidence and social skills.

SDEA will be hosting its 24th Annual General Meeting in-person on 16th September 2026, at 7pm.

All members are invited and encouraged to attend and take part in the AGM this year, hear from the committee elected in 2025, and discuss important matters and updates to the organisation.

What to look forward to:

• A look back at FY2025 (April 2025 - March 2026) 
• A look forward at upcoming SDEA programmes and initiatives

When: 16 September 2026, 7pm

Where: 42 Waterloo Street, Rehearsal Room

Refreshments will be provided

Register at https://sdea.wildapricot.org/event-6741135 

Nowadays, everything changes in an instant. As artists and creatives, it’s increasingly difficult to make meaning with the work. How do we hold space? How do we sustain each other? Conference Chair Aishwariyah Shanmuganathan, or Asha, tells us how the Theatre Arts Conference 2025 (TAC 2025) weaves together the possibility of a more inclusive future as we navigate through the chaos of it all.

You've presided over TAC for the 2nd time now, what makes TAC 2025 distinct from the previous edition?

TAC 2023 marked a post pandemic maturity in our field. We focused more on grounding, on going inward to reflect on foundational practices and branching outward to explore growth in a new world. TAC 2025, in contrast, feels more fluid and exploratory.

The theme “All Aboard!” invites us to move, to travel across disciplines, identities, and methodologies. There’s a dynamism to this edition, a sense of momentum and exchange. We’re seeing more cross-cultural collaborations, more risk-taking in pedagogy and performance, and a bolder reimagining of what theatre arts can be and do especially in this region.

What have been some of the most meaningful milestones or turning points for the Theatre Arts Conference since you first took on the chair role?

One key milestone was building TAC into a more participatory space; less a top-down series of talks, and more a forum for exchange across disciplines, geographies, and generations. The increased involvement of emerging practitioners and youth voices has really shifted the tone of the conference. Another turning point was consciously aligning our programming with pressing global concerns: colonial legacies, climate justice, AI in arts education – making the conference even more urgent and relevant.

The theme this year is ‘All Aboard! Navigating Crosscurrents of Theatre Arts Practice and Beyond.’ How did you and the team approach curating such diverse perspectives across programmes?

We began by acknowledging that the metaphor of ‘navigation’ implies complexity like crosswinds, detours, and unexpected encounters. So instead of streamlining a singular narrative, we welcomed multiplicity for this conference. We reached out to collaborators not just within the usual academic or institutional networks, but also independent artists, community practitioners, and transdisciplinary thinkers. We wanted TAC 2025 to feel like a map-in-progress, inviting people to come aboard with their own compass and questions.

You’ve long worked at the intersections of traditional and contemporary performance. How do you see those intersections reflected in the conference programme?

TAC 2025 foregrounds hybridity not just as an aesthetic, but as a critical stance. We’re seeing sessions that blend classical forms with digital dramaturgy, indigenous epistemologies with speculative futures.

What excites me is how participants aren’t just showcasing this work, they’re also questioning the politics of hybridity. Whose tradition? Whose technology? That kind of reflexivity is vital. It mirrors the conversations I’ve been invested in throughout my own practice.

This year’s conference spotlights issues like decolonisation, post truth, and inclusive pedagogy. Why are these conversations vital for arts educators and practitioners right now?

Because the classroom and the stage are no longer neutral spaces, if they ever were. Decolonisation challenges us to unlearn inherited hierarchies. Post-truth reminds us that meaning-making is political. And inclusive pedagogy demands that we rethink not just what we teach, but how and why. These aren't just intellectual debates instead they affect who gets to feel seen, safe, and heard in our learning and performance spaces.

TAC 2025 brings together voices from across the globe. What excites you most about this international mix of perspectives?

What excites me is the opportunity to disrupt assumptions. To me, global exchange isn’t about tokenism or exoticism, it’s about recognising that innovation often happens in the margins, in the vernacular, in the underfunded or overlooked. Bringing together practitioners from such varied contexts allows us to reframe what counts as 'cutting-edge' or 'universal.' It keeps the field porous, alive.

What do you hope participants—whether they’re teachers, artists, or students—take away from TAC 2025?

I hope they leave with more questions than they came with. But also, with a sense of being less alone in their questions. Whether you're grappling with curriculum reform, ethical representation, or finding your voice as an emerging artist, TAC 2025 is a space of solidarity. And ideally, of transformation. Even if it's a small shift in how you think, teach, or collaborate.

Looking ahead, where do you see the Theatre Arts Conference—and the wider field of drama education—evolving in the next five years?

I see TAC evolving into a more continuous platform, expanding beyond a biennial event into a network that supports year-round dialogue, research, and practice. For drama education more broadly, we’ll see even deeper engagement with interdisciplinarity and social justice. The field will need to remain agile and responsive to shifting technologies, political climates, and student needs. But at its core, the Theatre Arts Conference will continue to be about presence, process, and the power of story.

The Theatre Arts Conference 2025 runs from 17–19 July 2025. Find out more at bit.ly/sdeatac2025-info