When conversations turn to arts sustainability, funding is often the first concern. Grants, sponsorships, ticket sales, and festivals are commonly viewed as the engines that keep artistic work alive. Yet two recent panel discussions organized through the Chakto II program suggested a broader reality: thriving arts ecosystems are built not only through financial investment, but through relationships, collaboration, and cultural exchange.
Arts leaders, producers, festival directors, and cultural organizers from across Asia-Pacific and Europe shared how the sustainability and international reach of performing arts depend on far more than financial resources or artistic talent alone.
Drawing on experiences from leading arts institutions, festivals, and cultural organizations, the panelists demonstrated that thriving artistic work is sustained by strong cultural ecosystems built through human connections, partnerships, thoughtful programming, and long-term collaboration.
Organized by Cambodian Living Arts (CLA) in partnership with the Institut français du Cambodge (IFC), the panel discussions were held on 9 June 2026 under the topics “Programming and How Works Are Selected” and “Producing and Supporting Performing Arts Works.” Together, they explored how performing arts are not only created but also nurtured, supported, and connected with audiences across borders.
A key message from the conversations was that cultural institutions play a vital role in creating the conditions for artistic work to travel, evolve, and engage diverse audiences over time. Programming, production, partnerships, and international exchange were discussed not as separate functions, but as interconnected elements of a healthy arts ecosystem.
Creative Director of Asia TOPA, Jeff Khan, reflected on Melbourne’s multicultural arts scene and how the festival has evolved into a platform that positions Australia within the broader Asia-Pacific cultural landscape. Rather than looking inward, Asia TOPA seeks to foster regional dialogue and collaboration.
For Jeff, meaningful artistic engagement begins with curiosity about a rapidly changing world. “How much has the world changed?” he asked, explaining that this question often serves as the starting point for curating festivals and developing international partnerships. Equally important, he noted, is the opportunity to “hear from people you never hear from,” expanding perspectives through encounters with unfamiliar voices, stories, and experiences.
Shireen Abdullah, Director Producer at Esplanade – Theatres on the Bay in Singapore, noted that while artistic quality and rigor remain important criteria for programming, supporting the creation of new work extends far beyond that. As she reflected, support also takes the form of community-building, mentorship, opportunities to connect with like-minded colleagues, and bridges to professional networks. Although these forms of exchange are difficult to quantify, they often leave a lasting impact on artists’ creative journeys.
Likewise, Co-Artistic Director of Kyoto Experiment, Yoko Kawasaki, described festivals as spaces that bring together artists, researchers, and communities through collective inquiry and exploration.
“Festival is not where you show something is right, or something is stronger.” Yoko said. Instead, the role of a festival is to create conditions where artists have the freedom to express themselves and explore new ideas. In this understanding, cultural gathering is a space for experimentation.
Grounded in the realities faced by artists and cultural leaders across Southeast Asia, the discussions also highlighted how relationships and networks contribute to the resilience of artistic communities.
Rama Thaharani, Director of Indonesia’s Kelola Foundation, spoke candidly about the challenges of limited visibility and scarce resources. Across the region, she noted, artists and cultural workers are often scattered and disconnected from one another. Building stronger artistic ecosystems therefore requires more than financial support. It also involves strengthening networks and creating systems that help artists find, support, and collaborate with one another. In this context, organizations such as Kelola Foundation play a crucial intermediary role, connecting local artists with international opportunities while connecting emerging artists to access resources that might otherwise remain out of reach.
For Cambodia’s performing arts sector, these reflections are particularly relevant. As more artists seek opportunities to collaborate internationally and present work beyond national borders, access to professional networks, exchange platforms, and mentorship opportunities become increasingly important. Organizations such as Cambodian Living Arts are helping to strengthen these pathways by connecting artists with learning opportunities, professional development, and regional partnerships.
Rama also highlighted a deeper challenge: sustainability. While international funding remains important, she cautioned that dependence on external resources can leave organizations vulnerable to shifting donor priorities and geopolitical changes. Long-term resilience, she argued, requires stronger local support systems, including public investment, government partnerships, and cultural policies that recognize the arts as a vital public good.
Director at Passages Transfestival Benoît Bradel reflected on how artistic projects often begin with personal curiosity and a desire to encounter new forms of expression. But when it comes to making ambitious projects possible, another indispensable resource required is the people. As he noted, the people we work with, help make impossible things happen, especially when resources are limited.