Current ISPA Singapore Fellow and award-winning Singaporean playwright, director and educator, Tze Chien Chong is a core member of The Finger Players, and serves as the Festival Director of SIFA for 2026-2028. 

His plays, including Charged, Rant and Rave, and PIE, have been staged internationally in Singapore, the UK, Budapest, Taiwan, and Japan, and three collections have been published by The Necessary Stage, The Finger Players, and Epigram Books. He also writes for film and television, and in recognition of his contributions to Singapore theatre, he received the Young Artist Award from the National Arts Council in 2006.

You will have the opportunity to meet Tze Chien and other ISPA Fellows at the upcoming 2026 Singapore Congress, May 19-22.

You recently became the Festival Director of the Singapore International Arts Festival, which will take place concurrently with ISPA's 2026 Singapore Congress. What artistic perspective are you bringing to the role—and what are you most excited for audiences to experience?

I come to this role first and foremost as an artist. Over the years, I’ve experienced the festival from multiple perspectives: first as an audience member following it since the 1980s, then as an artist who benefited from past festival commissions, and now as a commissioner/curator shaping the lineup. Having stood on both sides of the fence gives me a more holistic view of what a festival can mean to artists, audiences, and the wider cultural ecosystem.These perspectives help me navigate the sometimes competing expectations between artists, commissioners, and audiences, and to find ways for them to meaningfully align. But more importantly, to create the most conducive conditions for artists to thrive.

For me, the festival is that moment in the year when global hit-makers and Singapore artists gather under one umbrella, creating a space for discovery, surprise, and new artistic expressions. What excites me most is creating this environment where audiences can encounter unexpected talents and newfangled ideas under such circumstances (both from Singapore and from around the world) and where artists feel empowered to take bold creative leaps.

You’ve spent years as a playwright and director with The Finger Players. How has that experience shaped the way you lead an international festival?

Being a playwright and director, and the Artistic Director of The Finger Players for 15 years, has shaped how I think about leadership in the arts. For about fifteen years with The Finger Players, I oversaw seasons helmed by different in-house artists, which meant constantly balancing artistic direction with mentorship, production realities, and audience engagement.

That experience helped me hone the skills of shaping a long-term artistic vision while supporting multiple creative voices; that meant crafting a consistent identity for the company, something audiences and collaborators could follow and connect with.

I suppose in many ways, directing a festival follows the same trajectory, albeit on a larger scale. The principles remain similar: nurturing artists and their works, building a coherent narrative across the programme, and creating meaningful encounters between art and audiences. The scope is broader, of course, but the spirit of the work feels very familiar, thankfully.

Singapore has a dynamic and diverse arts ecosystem. What aspects of the local cultural landscape are you most excited to share with the ISPA community this May at the Congress?

Many people see Singapore primarily as an efficient aviation/transport and business hub. What is less widely recognised is the depth of its cultural diversity, history, and artistic life.

Singapore is a migrant society shaped by people who brought with them the traditions of older civilisations from across Asia and beyond. Over time, these influences have intertwined with a Southeast Asian sensibility and a post-colonial identity that is uniquely our own.

I have had many opportunities hosting international collaborators in my independent practice. Whenever they encountered this richness firsthand, their assumptions about Singapore were always challenged, and even surprised by the ingenuity, diversity, and maturity of the arts scene here. For a relatively young nation, our cultural ecosystem has developed remarkable depth, and it continues to evolve in fascinating ways.

How does this year’s theme, Creative Convergence: Same Same, And Different, resonate with you, and what kinds of cross‑cultural or cross‑sector conversations do you hope it will spark among delegates?

The theme resonates strongly with the lived reality of Singapore and much of Southeast Asia. Multiple languages, cultures, and traditions exist side by side. Because of that, we’ve had to develop ways of negotiating and collaborating across these differences with sensitivity and care.

As Singaporeans, we sometimes take this for granted. But the processes of dialogue, understanding, and even conflict management that allow such diversity to function and co-exist are incredibly rich and worth unpacking.

I hope the congress becomes a space where these experiences can be shared openly. The world does not always operate in the same way, and there is much we can learn from one another. “Same same, and different” captures that beautifully: it acknowledges our common ground while recognising the value of our differences, and it invites conversations that move beyond easy assumptions toward deeper cultural exchange.

View Tze Chien's full bio

Meet the new ISPA Global Fellow, Fizza Hasan!

Fizza Hasan is the Artistic Director and Founder of Theatre Wallay in Islamabad, Pakistan and a current ISPA Global Fellow. The Global Fellowship Program is made possible through the generous support of our donors.
You will have the opportunity to meet Fizza and other ISPA Fellows at the upcoming 2025 Lugano Congress (June 10-13).

1. What led you to pursue a career in the performing arts and what do you value most about this work?

It’s hard to pinpoint when my love for performance became a career. My deep love of storytelling led me to train as a teacher of languages and literatures. Theatre was always a part of my life, in my childhood, student life, and classrooms, but twenty years ago I gave it a name by founding the company I run today.

Theatre has always been the space where I can both lose and find myself and where people can connect in their shared humanity. Over time, I realized its potential to encourage dialogue, build empathy, and inspire change. What I value most is the sense of community it creates and the power it gives to unheard voices. Through performance, I’ve seen walls break down, perspectives shift and people change.

2. Can you tell us about the mission of Theatre Wallay, the organization you founded and lead in Islamabad? 

Theatre Wallay started as a small group of friends who loved theatre and believed in its power to ignite reflection and change. It has since grown into a space where we ask difficult questions and tell real, powerful stories, often about things people are afraid to talk about. Our mission is to get people thinking, feeling, and talking. We use theatre not just to entertain, but to build empathy, challenge stereotypes, and bring communities together. We aim to make meaningful connections and use art to make a difference.

Our cultural space in Islamabad—one of the few in the city—is where we work, perform, and host other artists. Keeping it alive is central to our mission of supporting art and dialogue.

3. You are moderating a session about the difference the arts can make today at the upcoming Lugano Congress. Can you give us a little preview of your thoughts about this topic?

I’m really looking forward to the Lugano Congress. We’re living in a world that’s overwhelmed by noise, conflict, and division and the arts offer to us a space to listen, to reflect, and to imagine new possibilities. The arts connect us beyond language and politics. They humanize us, build empathy, and remind us of our shared humanity. The performing arts have always spoken truth to power and challenged the status quo, something we urgently need in today’s polarized world. This session is a chance for us to reflect on that role together, and envision a way forward.

4. What are you hoping to take away from the ISPA Fellowship program?

After two years in the ISPA Fellowship programme, I feel incredibly enriched, both personally and professionally. The experience gave me a broader perspective on the role of the arts in different cultural and political landscapes. I’ve built lasting relationships with fellow artists and leaders from around the world, and those connections have given rise to new ideas and potential collaborations. What I’m taking away most is a renewed sense of purpose and possibility. Hearing how others are navigating challenges with creativity and resilience has been deeply inspiring. I feel better equipped to lead, adapt, and push boundaries. The fellowship will continue to support this growth by keeping me connected to a global network of peers and resources that challenge and inspire me.

Click here to view Fizza Hasan's bio

Meet the new ISPA Denmark Fellow, Sigrid Aakvik!

Creative Producer Sigrid Aakvik is a new Denmark Fellow and the Founder of Nordic performing arts agency ART & ABOUT. ISPA's Denmark Fellowship program is generously funded by the Danish Agency for Culture and Palaces.

You will have the opportunity to meet Sigrid and other ISPA Fellows at the upcoming 2025 Lugano Congress (June 10-13).

1. What is your background and what drove you to become an international producer?

   I have an academic background where I studied theatre at the University of Bergen and Aarhus University, and my entry into international work came through festivals and Creative Europe projects. Early on, I was struck by how stepping beyond the familiar enriches artistic contexts and fosters deeper, more dynamic exchanges. The dynamic exchange of ideas and the cross-cultural collaborations inherent in international work continue to inspire and shape my approach as a producer.

2. Can you tell us about your agency, Art & About, and what you are currently working on?

   Art & About is a Scandinavian agency presenting artists that have a strong belief that art can be a tool for change. The demand for producers and distribution managers is higher than ever, and we are committed not only to supporting established companies but also to nurturing emerging artists. During the last year distribution has been much more challenging, and there are fewer opportunity to get works out there. This summer we have success with the site specific format, and are touring two great works: BOXED - a participatory installation for urban spaces by Wired Studio and Weeping Men by Cunts Collective, a performance staged inside a custom-built sauna tent.

3. What are you hoping to take away from the ISPA Fellowship and upcoming Congress in Lugano?

   As a producer, I often work in solitude with limited access to workshops or further education. ISPA provides a vital space for knowledge exchange, critical discourse, and collaboration. Beyond inspiration, I see it as an opportunity to strengthen professional networks and explore how the arts can respond to an increasingly polarized world. Now more than ever, fostering international solidarity is essential.

Click here to view Sigrid Aakvik's bio

Meet new ISPA Netherlands Fellow Mxolisi Masilela, Co-Founder & CEO of the Tx Theater in South Africa! 

In addition to funding Fellows from The Netherlands, Performing Arts Fund NL funds a Fellow from a region with which the Netherlands has a past colonial relationship. We would like to thank Performing Arts Fund NL for taking this unique approach and making this program possible.

Make sure to meet Mxolisi at ISPA’s 2025 New York Congress (January 14-16, 2025)!

1. Can you tell us about your company, the Tx Theater, and what projects you are currently working on?

   The Tx Theatre is an independent space featuring a 100-seater auditorium. We stage about 50 shows a year, encompassing theatre, music, poetry, and festivals. Among our various projects, a few notable ones include:

   1. The Tembisa Theatre Week: Dedicated to showcasing new theatre and performance works.

   2. Kuwamba National Women’s Theatre Festival: Exclusively for female creators of art.

   3. Gathering of Stars: Open to all artists showcasing their works.

   4. 3/10 Theatre Training Program*: Training for young talent in theatre.

   5. The Independent Theatre Makers Awards: Celebrating independent theatre makers across the country.

   Our diverse programming ensures a rich cultural experience for our community.

2. What is your background and what brought you to the performing arts?

   I grew up in a community theatre group and was introduced to theatre performance at the age of 9, so theatre making is all I know. With 25 years in the arts, I have worn many hats, including author, director, actor, facilitator, producer, and festival curator. My journey in the performing arts stems from a deep-seated passion for storytelling. Through my work, I aim to connect, inspire, and provoke thought, using the power of theatre to bring diverse stories and perspectives to life.

3. What about the ISPA Fellowship are you most looking forward to?

I am most looking forward to the ISPA Fellowship for the opportunity to connect with a global network of performing arts professionals. This Fellowship offers a platform to exchange ideas, gain insights into innovative practices, and explore potential collaborations. I am eager to learn from the diverse experiences of my peers and to share the unique perspectives of my work in the township. The professional development and mentorship components will be invaluable in enhancing my leadership skills and expanding the reach of my projects, ultimately enriching the cultural landscape of my community.

Click here to view Mxolisi Masilela's bio

We were thrilled to see that two 2020 ISPA Fellows - Maryam Malmir and Pamela Lopez - had the chance to connect for the first time at the Fadjir Theatre Festival which took place in Iran earlier this month, in light of having faced barriers to entering the U.S. for the New York Congress.

It is always great to see ISPA members connecting between congresses around the world. Send us your photos so that we may highlight these connections in upcoming newsletters.

The award ceremony took place on November 13, 2019, during the opening gathering dinner of the 32nd CAPACOA Conference, at the National Arts Centre. Read the full announcement on the CAPACOA's website. 

Today we are highlighting 2019 Fellow Reneltta Arluk, Director of Indigenous Arts at Banff Centre for Arts and Creativity in Canada.

Reneltta, an Inuvialuit, Dene and Cree woman originally from the Northwest Territories, gave a speech about the importance of cultural safety and unity to The Global Cafe during last month’s Edinburgh International Festival.She discussed creating a safe space, how Indigenous communities are standing together and barriers to reconciliation. Check out an excerpt of her speech.

Cultural safety is a concept that emerged in the late 1980s as a health focused framework for Maori in New Zealand. It defines cultural safety as, “an environment that is spiritually, socially and emotionally safe, as well as physically safe for people; where there is no denial of their identity, of who they are and what their needs are...

...Responsibility. You have it. We (Indigenous) cannot move forward together unless you (non-Indigenous) acknowledge your truth in our shared history. Reclaim that and we (All) will rise. When I look at the systematic ways Indigenous peoples have had to navigate, guide, heal, feed, propel, protest, mediate, deny, defy, instill, educate, starve, beg, fight, endure, pray, negotiate and rebel against the systems that were built to assimilate. This historical practice of undoing needs to end so we can rise as a country.

Read the full published excerpt of the speech on The Global and Mail's website.

This month we’re highlighting ISPA Fellow Kristelle Holliday, Executive and Co-Artistic Director of Théâtre des Petites Lanternes in Sherkrooke, Québec, Canada. 

On June 18th, the company received the Hector Fabre Award by the Quebec Ministry of International Relations and La Francophonie for the creation of Bongo Té, Tika which had been performed in the Democratic Republic of Congo between 2015 – 2018.

In Kristelle’s words, “The Prix Hector-Fabre is intended to salute the audacity and determination of internationally recognized individuals and organizations in Quebec for their significant contribution to the development of their region.” This marked the first time the award has been given to a theatre company in Québec. 

Félicitations! Congratulations!

For our French speakers, read more about the recognition in these two La Tribune articles: 

• Un prix et 25 000$ pour le Théâtre des Petites Lanternes
  
• Faire parler le « personnage » du centro

When asked about their intention behind launching the Lagos Fringe, Benda notes:

“Our idea was to create an alternative festival where, if you didn’t get to perform in March, you get to perform in November. And since this was the fringe, it had to be totally open-access and cut across everything: music, street theatre, circus, busking, drama and comedy.”

Kenneth adds:

“The model for the Lagos Theatre Festival itself was a response to the lack of infrastructure here in Nigeria, so it was based on what was lacking and to help develop others to make work.”

Read more about the history and often volatile context in which Kenneth and Brenda Uphopho have been shaping the Nigerian cultural landscape in this profile by The Stage. Kenneth will be attending the Guadalajara 2019 ISPA Congress this coming May!

Tell us about what you’re up to in your current role?
As a Palestinian woman managing a theater company I work very hard to use theater to create positive change in the society and make a difference in the life of people especially women, youth and children. Al Harah has achieved a lot during the last 13 years in terms of inclusion, social change and empowering women and youth through theater. We also organize Palestine International Children and Youth Theater Festival every two years.

What were you doing before your current work that led to this?
I was working for seven years as the Assistant Public Information Officer at UNRWA serving Palestinian Refugee rights and issues. Then after a TOT with the Mawred Resource and the European Cultural Foundation I became one of the first trainers  in cultural management in the Arab world who participated in writing the first Arabic Manual in Cultural Management to be published in Arabic. I have been training in cultural management for more than 13 years in the MENA Region and some European countries.

What do you specifically hope to contribute to the global field of the performing arts in your career?
I do hope to be able to encourage and influence people working in performing arts to express their views on issues related to injustices happening in the world bluntly without fear and to be able to take positions towards other people in the world through their creative work. I aspire to build new partnerships with countries in Asia and in Latin America where we have so much in common.

What is your favorite part about working in this field?
My favorite part of working in the field  is seeing the eyes of young people who have experienced the impact of performing arts on their lives, especially women. Witnessing the impact of performing arts on creating positive change in our communities and empowering youth.

What was the impression of your first congress?
I was overwhelmed by the number of fellows who were there and their achievements on the global level. Got inspired by some of the speakers who were selected for the congress. I was proud of our work despite all the challenges we face being under Occupation.

In 2018, ISPA brought 49 Fellows from around the world to the New York Congress. We know it's impossible to meet all these emerging leaders so we're highlighting the 2018 Fellows in features via the members-only monthly Network and on the website.

Today we are highlighting 2018 Global Fellow Sokhorn Yon, Program Manager at Cambodia Living Arts. In this capacity, Sokhorn manages their “Arts Development” program, with a mission to (1) enable artists and cultural leaders through training, funding, resources and network development and (2) integrate art and culture into the every day life of Cambodian youth. We caught up with Sokhorn to learn more about the cultural fabric in Cambodia and she introduced us to Asian Cultural Council's Facebook Page and website to keep up with the happenings and opportunities in art and culture across Asia. And why do this work? In her words "one thing that makes me proud in working in the sector is that I've got the chance to work with and support the creative generations of Cambodian artists to create the work that is meaningful and relevant to them."

In 2018, ISPA brought 49 Fellows from around the world to the New York Congress. We know it's impossible to meet all these emerging leaders so we're highlighting the 2018 Fellows in features via the members-only monthly Network and on the website.

The recipe–as Heena describes,

“I had deep cultural competency and networks in the South Asian arts community and in the presenting community. I wanted to bring them all together and MELA Arts Connect was born. One of my strengths is connecting the dots, with MELA, I connect the dots through the arts.”

Don’t miss reading the entire article featured on the DubMC blog:
"The Ecosystem: MELA Arts Connect’s Heena Patel on Changing the Arts Agency Model to Expand Access to and Engagement with South Asian Performance"

Maya Zbib, co-founder of Zoukak Theatre Company and Cultural Association (Beirut) received a Grant for Young Artists from prestigious Praemium Imperiale award given by the Japan Art Association 

("Shirin Neshat and Mikhail Baryshnikov Among Praemium Imperiale Winners," New York Times)

Marcus Youssef, artistic director of Neworld Theatre (Canada), was nominated to the national Siminovitch Prize in Theatre shortlist for playwriting
("Vancouver's Marcus Youssef is up for nation's largest theatre award, the Siminovitch Prize," Georgia Straight) 

Nazli Tabatabai-Khatambakhsh, artistic director of ZENDEH (UK), received Asian Business Connexions’ Power of 8 award in the arts and culture category
("ABC Arts & Culture Award 2017," ZENDEH Blog)

Corey Payette, artistic director of Urban Ink Productions (Canada), was nominated to the Tom Hendry Awards shortlist for Stage West Pechet Family Musical Award
("PGC Announces the 2017 Tom Hendry Awards Shortlist," Playwrights Guild of Canada)

Some excerpts to peak your interest:

Vikram Iyengar (India), “What’s Outside the Echo Chamber?” 
At that last session on that first day in New York we were asked several questions about our backgrounds: was this our first time in NYC, which region of the world were we from, how many languages did we speak… All the questions were framed so that you stood up if it was relevant to you. The last one – how many of you feel that what you do matters? I looked around the room. For the first and only time, all 56 of us were standing. There was power there, there was politics, and there was privilege. And imbuing all three, yet standing apart in its own right was Art.”

Nazli Tabatabai-Khatambakhsh (England), “Free to be you and me”
Our intersectional and shifting identities can be charted in many ways, here is one path I have been reflecting on informed by the programme of art and culture today at the ISPA Congress: Find stillness and gaze over your shoulder to learn from your journey through crystallising the key moments into images you can navigate. Be attentive to the place where you stand, and the environmental conditions, notice the resistance. Then dare to look towards the horizon in order to forecast what may come - don’t censor yourself, be limitless. In all of this creativity and diversity, this manifests as our philosophy and our understanding of human rights within a political context that imbues how we are in the world.”

And for those who would like to browse further

Marina Barham (Palestine), “In the Words of a Palestinian: Interview with Marina Barham”

Sachiko Soro (Fiji), “Sachiko Soro Travels to the Big Apple for Performing Arts Conference”

Butholezwe Nyathi (Zimbabwe), “YALI Fellow speaks on New York Experience”

In video format too:

Dan Baker (England), YouTube videos playlist - daily accounts for his congress experience 

Butholezwe’s favorite part about working in the performing arts field is that “the creative landscape is ideal for mental stimulation as there is always a constant search for new approaches to artistic presentations. The quest to think in other terms is often translated to everyday human endeavor and that is ideal in crafting solutions to human challenges. And yes the arts are fun - who doesn't want to have fun at their workplace?”

When asked what he specifically hopes to contribute to the international field of performing arts in his career, Butholezwe noted “I’m keen to share the complexities of arts administration and attendant adaptive mechanisms from a Zimbabwean perceptive characterised by capital deficiency. I'm also keen to facilitate systematic promotion of Zimbabwean performance artists as one of the strategies towards international profiling of the local cultural landscape - using performance arts to promote a positive image of Africa.”

Butholezwe attended the New York 2017 ISPA Congress thanks to the generous support of ISPA’s Fellowship Patron and Challenge donors. When asked about the impact of his first ISPA experience, Butholeszwe shared: “The ISPA Congress struck me as a high profile meeting place of leaders in the global creative industry value chain and presents a fantastic networking opportunity for emerging arts administrators like myself. ISPA has enhanced my international connections and profile.”

Read more about Butholezwe’s experience at ISPA in this recent article in the Zimbabwean weekly paper The Sunday News.

In 2017, ISPA brought 56 Fellows from around the world to the New York Congress. We know it’s impossible to meet all these emerging leaders onsite so we’re highlighting the 2017 Fellows in features via the members-only monthly Network and on the website.

Today we are highlighting 2016 Fellow Alejandro Marrero, Literary advisor/ Art manager at Estudio Teatral de Santa Clara. For those who attended the New York 2016 ISPA Congress, you may recall Alejandro marked his first day at ISPA by sharing a high-energy regional update on his country of Cuba!

We caught up with Alejandro and heard all about a notable partnership that emerged from his time at the Congress. Having connected with ISPA member Barbash Arts Consulting Services, Alejandro and Cathy Barbash have since co-produced an exchange residency, bringing traditional Lakota performing Kevin Locke to Santa Clara and Havana. This exchange has produced an ongoing relationship and discussions are already underway for new projects involving both Cuban and American artists and organizations!

When asked about what he hopes to contribute to the international field of the performing arts, Malcolm said, “The world has become bloated with content, most of it disposable. Our present-day profession has found itself with an odd responsibility: to build an enduring canon—a long-lasting repertoire—through the creation of transient work. I guess this contradiction appeals to me.”

His favorite part about working in the field is “its spontaneous, handmade qualities. Performing arts is beautiful when it is analogue and immediate; when you can see the grain.”

Malcolm attended the New York 2016 ISPA congress as a Netherlands Fellow thanks to the generous support of Dutch Performing Arts / Performing Arts Fund NL. When asked about his impression of his first congress, Malcolm shared, “I loved that everyone was in the same place, at the same time, sharing the same information, session after session. It was like going back to school. I didn't feel like I had to run across the quadrangle just to talk to someone important: chances are I'd be sitting at the desk beside them after recess. Now I have an ISPA Fellowship, so I suddenly feel like a prefect!”

In 2016, ISPA brought 46 Fellows from around the world to the New York Congress. We know it's impossible to meet all these emerging leaders on site do we're highlighting the 2016 ISPA Fellows in features via the members-only monthly newsletter Network and on the website.

When asked what she hopes to contribute to the international field of the performing arts, E-Jan noted: “Making connections, bringing artists together to create work the speaks for itself, reflect the society at the same time archive the era.”

Her favorite part about working in the field is “the immeasurable excitement the arts bring into one’s heart and soul! It keeps me alive being at the core of creation and innovation, surrounded by people who have similar thoughts, together we make things happen.”

E-Jan attended the New York 2016 ISPA Congress as a Global Fellow thanks to the generous support of ISPA’s Fellowship Patron and Challenge Donors. When asked about her impression of her first ISPA Congress, E-Jan shared: “OH WAO. People in this network are really diverse and they are all friendly! Not only they are from everywhere around the world, they are also from various practices and professional backgrounds. It's ever exciting talking to different people, to learn and share experiences, enjoy the peer to peer motivation.”

“As a professional I started working in (early) music at the age of 19. From 2001 through 2013 I worked in different departments of the Early Music Organization, famous for its Utrecht festival, the world’s largest early music festival with more than 180 events in 10 days. During this time I also worked for shorter periods of time for several Dutch early music ensembles like Amsterdam Baroque Orchestra & Choir, New Dutch Academy and Camerata Trajectina.

In 2013 I became the managing director of Holland Baroque. A radically versatile baroque orchestra; we like to explore other musical styles – jazz, folk, French chansons, klezmer, singer songwriting – without losing sight of our baroque foundation and the experience we want to establish for and together with our audience.

Since 2012 I’ve also been developing, together with my co-director Georges Mutsaerts, Wonderfeel, an outdoor festival for classical music, located in the woods in the centre of the Netherlands. The format takes its cue from pop festivals, with seven stages and a continuous programme from 12 AM until midnight, featuring (inter)national artists in 90 concerts over 3 days. The first two editions of the festival in 2015 and 2016 were a great success, inviting the Dutch national newspapers to remark “Wonderfeel is a fairy tale” (de Volkskrant), “A festival to love” (De Telegraaf) and “Wonderfeel is unique in the world” (NRC Handelsblad).”

When asked what she hopes to contribution to the international field of the performing arts, Tamar noted: “With Wonderfeel I’d like to show the world that the definition of ‘classical music’ can be stretched as far as you like it. Just look at the pictures (below): would you’ve ever guessed they’re taken at a festival for classical music?”

Photo by Juri Hiensch

Tamar attended the New York 2014 ISPA Congress as a Global Fellow and returned in 2016 thanks to the generous support of Dutch Performing Arts / Performing Arts Fund NL. When asked about the impact of her first ISPA experience, Tamar shared:

“A golden ticket to the world of the performing arts. That’s how it felt, when I stepped into Times Center for the first day of the ISPA 2014 congress. Like entering the large Chocolate Factory of Mr Wonka: you know you’ll love it, but you don’t know what to expect, who you will encounter and where exactly you will end up. 

In four days my arts network extended to a global size, due to all those inspiring arts managers from all over the world. But the congress did manage, despite its size, to operate on a very personal level. As a fellow I felt (and still feel) very much looked after. ISPA lifted me from the day-to-day issues to an interesting helicopter view on many subjects that everyone in the performing arts will come across if they take the time to look at their work closely, putting things in a larger perspective, reflecting on the past and most of all looking at the future. Leaving New York City I have a lot to chew on and most of it tastes really sweet.”

When asked what she specifically hopes to contribute to the performing arts in her career, Ruchira noted: “Performing arts for young audiences is under-served in India and I hope that through ThinkArts we can work towards addressing that segment by not only presenting great quality international work in India but by also training and supporting performers in India who are keen to create work for young audiences. I hope that in a few years we have a thriving cultural environment that offers ample opportunities for children and young people to engage with the arts on a regular basis. It is our endeavour at ThinkArts to contribute to creating and sustaining such an environment.”

Ruchira attended the New York 2016 ISPA Congress thanks to the generous support of ISPA's Fellowship Patron and Challenge donors. When asked about the impact of her first ISPA experience, Ruchira shared: “It was amazing to meet so many people from different parts of the world, all of them engaged with the arts. It was very inspiring to listen to the speakers at the different sessions addressing vital topics that concern all of us working in the field of performing arts. I was most delighted to meet people like me who were working for young audiences and I am in conversation with some of them to see how we could collaborate together. One of the direct partnerships that emerged is that in November 2016 Think Arts will be presenting shows of Triciclo Rojo’s Vagabundo (presented during the Pitch New Works session at the congress) for the first time in India, across 3 cities.”

Huge congratulations to ISPA member and 2-year Global Fellow, Wole Oguntokun, on the opening of The Theatre Republic, a new performing arts venue in Lagos, Nigeria. As Artistic Director, Wole will develop programming geared towards developing cutting-edge contemporary performance and re-presenting classic works in innovative ways. The venue will officially open with “The Ideas Cafe” where Nigerian artists will meet to discuss the country’s performing arts environment and future opportunities. Nigerian Nobel Laureate, Emeritus Professor Wole Soyinka, a dramatist involved in the “Mbari” movements of the 60s and 70s, will be guest speaking. Wole shared that the concept behind “The Ideas Café” was born out of ISPA’s encouragement to disseminate the knowledge gained as an ISPA Fellow. Congratulations, Wole!

The Theatre Republic will be welcoming international interns who want to spend time studying the arts scene at the venue itself and in the city of Lagos as a whole. 'The Republic' offers on-site accommodation to a limited number of these lucky interns!

Read more about Wole.

“As a producer/cultural operator I'm working on various projects right now. One of them is a Syrian-Turkish theatre collaboration with playwright Yasser Abu Shaqra to open in Istanbul then tour internationally. I’m also working towards an international children’s arts festival in Istanbul, first of its kind in “Constantinople". Last not the least I’m organizing a joint meeting for The Fence and Eurodram networks at Istanbul Theatre Festival.”

When asked what he would like to contribute to the international performing arts field, he noted “Living in Istanbul & London, I see these cities as great gateways to the world. Istanbul has so much to offer with its young and active performing art scene. I like to create a bridge where Turkish companies tour abroad & international companies tour in Turkey while bringing expertise from The UK.”

Hakan is part of the Global Fellowship Program, thanks to the generous support of ISPA’s Fellowship Patron and Challenge donors. When asked about his impression of his first ISPA Congress this January, Hakan recalled: “I was amazed and absolutely thrilled to be at the congress. I never thought I could meet so many artists and managers around the globe with great vision and expertise in their fields. It was such a nice experience to hear what is going on in their countries and how they overcome obstacles in an artistic way.”

Prior to working with Lado Be, Ariadna began her career working with the music label Corasón. Since, she has worked for the National Fund for Culture and the Arts, Music Frontiers, Festival del Centro Histórico, and co-founded her own boutique agency, Intervalo.

Ariadna’s favorite part about working in this field is “the opportunity to meet incredible artists and amazing people. To get goose bumps during a show and to change your routine pretty often.”

When asked what she would like to contribute to the international field of the performing arts, Ariadna noted: “I would love to contribute as an agent and witness of collaboration and connection in between artists. It’s inspiring to me the stories of artists from diverse genres or fields that come up with thrilling works as a result of a festival’s petition, for example.”

Ariadna is part of the Latin America Regional Fellowship Program, thanks to the support of Cultura UDG and eje7. When asked about her impression of her first ISPA Congress this January, Ariadna recalled: “For me, it was an insightful experience to have a glimpse to other realities apart from mine. ISPA makes you feel as part of an inclusive community that, as you, believes that the arts make a better society. Even if you feel yourself a bit shy, the atmosphere encourages you to talk to the partner next to you."

In 2016, ISPA brought 46 Fellows from around the world to the New York Congress. We know it’s impossible to meet all these emerging leaders onsite so we’re highlighting the 2016 ISPA Fellows in features via the members-only monthly newsletter Network and on the website.

On top of his work with Jibilika Dance Trust, Plot is co-director of Kuenda Productions, a collaborative dance, music and theatre company. His favorite part about working in this field is “working in [an environment] that is entirely passion driven.”

When asked what he specifically hopes to contribute to the field in his career, Plot explained: “I hope to contribute ideas on running sustainable arts social enterprises in economically unstable environments based on my experience in Zimbabwe.”

Plot was a 2016 Global Fellow and had his first ISPA experience at the New York 2016 ISPA Congress last month. When asked about his impression of his first ISPA Congress, Plot shared the following with us: “The first congress was mind blowing. I had never imagined being under one roof with more than 500 people who pursue the same or similar work I do. That was the most inspiring part that everywhere I turned I bumped into warm and relevant people who were very forthcoming to talk, share ideas and experiences. I learnt a lot from the various sessions and they did answer most questions I had. Once I got back home I hosted a symposium with at least 100 artists and arts managers from different sectors where I shared a bit on what I had learnt and experienced at the ISPA congress.”

Click here to read more about Plot. Learn how you can help ISPA support emerging leaders in the field.

In 2016, ISPA brought 46 Fellows from around the world to the New York Congress. We know it’s impossible to meet all these emerging leaders onsite so we’re highlighting the 2016 ISPA Fellows in features via the members-only monthly newsletter Network and on the website.