Spotlight on Pamela Lopez

You are currently moving from Chile to Buenos Aires. Can you talk about opportunities associated with the move?

There is always an opportunity when finding new territories but in particular, I would say that Buenos Aires stands as one of the largest Latin American hubs for Culture and in particular, for the performing arts. We are all aware of the economic challenges that Argentina faces and the inflation rates which of course are a barrier to artistic entrepreneurship, but in spite of that reality it has always impressed me how audiences there are absolutely committed to the artistic experiences, participation, and consumption as something very natural in their ways of living and in their social scheme. I have always admired that and I am now going to be able to delve more deeply into the way Argentina has made out of culture one of their more relevant identity values. I am sure there are interesting things to learn in the area of audience and community engagement and how they have transformed a city into public spaces that are part of people's way of life.

What should we know about the artistic landscapes of Chile and Argentina?

I would say that besides the fact that in both countries you will have excellent wine to complement a night out in the theatre, both cultures have a shared history of political dictatorships and a long path in rebuilding democracy. I am sure that shared cultural reality aligns artistic work with deep and critical artistic voices that have been resilient, moving through changes in the last 50 years but that nowadays feel really free to speak out for new rights, freedoms, and empowered community causes. Feminism, abortion, police violence, indigenous causes, the decolonization of paradigms as well as other political realities have always been part of a vibrant cultural scene in both latitudes.

You’re coming from a theater background. Can you speak more about your programmatic point of view?

One thing that has always interested me is how and why programmatic decisions are being made. Many used to think it's a matter of taste or personal points of view but to be honest, at least in societies like ours where there is an urgent need for funding and for professionalizing the arts as a way of living for creators, I would say it is a lot more about being able to find the right opportunities for collaboration. My point of view has always been aligned with the notion of diversity and this includes, of course, questioning a lot of established ideas and notions in the programming world. We need to question once again what quality means to us, also how we embrace the idea of equity in a diverse program. In particular, my interest and curiosity in the last years have been in advocating for arts and disabilities not as a way of promoting access, as most people frame it, but as a matter of ensuring cultural rights. Lately, I have also been trying to understand better the concept of "community", a label that today is almost mandatory for artistic spaces. How can we integrate communities in a way that is less of an engagement program and more of a transformational and useful experience for both artists and participants? As you see, I only have questions in my head, but I like that so much of this new post covid age where there is the possibility of reframing everything we once knew about programming.

You’re on the Planning Committee for the upcoming New York ‘23 ISPA Congress, January 10-12. How does your perspective influence the upcoming program?

Well, I feel my colleagues should answer how am I influencing, but I would like to think it is by bringing precisely new questions on top of the table. I am always trying to see a new perspective on things and pushing myself and everyone into a disagreement. I mean this of course in a good creative way. But I am not afraid of different points of view, moreover, I try to encourage that we are able to find our ways together because that shared path after dialogue and consensus is going to be for sure much more interesting. As a secret goal, of course, I am always rooting for more Latins for the ISPA international community!

In April 2020 you published an article: DIGITAL THEATER A THREAT? How do you feel about remote experiences after the past two years?

Mixed feelings, at least in Chile I feel there has been a shift in terms of how we perceive digital work. At some point, I still feel intrigued as to particularly understand how this new media will affect the way audiences relate to the arts. I see clearly there are opportunities to grow there, to expand territories, but I have seen few cases of groups or organizations that have really managed to develop a clear strategy on this. There is a chance that we as managers and programmers should definitively discuss more deeply. I also must admit though, that as a theater lover, nothing compares to being in a room full of people.

How did your experience of being an ISPA Fellow impact your career?

In several ways. ISPA has been a professional network where I have been able to share with peers but moreover, I have made friends. During the pandemic, on those moments when no one was really sure about what was going on, one of the first networks I felt comfortable with was ISPA. We keep a conversation going through Facebook trying to find answers out of uncertainties. This for me was critical and very relevant. It may sound a bit cliche, but it was really one of those moments when you are able to understand why these types of communities are important not only in professional terms but also in deeply personal matters.

When you understand that the theatre community is as big as the world, then you are able to imagine new alternatives, you even feel brave enough make new decisions such as moving away from your own country. Somehow you feel safe and with the certainty that everywhere you go, there will be a chance of implementing ideas, opening conversations, and collaborating to the performing arts. I think ISPA has been critical in this move.