I wasn’t sure what to expect as I stepped into New York’s Gerald W. Lynch Theatre for my first ISPA Congress. It marked the beginning of a thought-provoking week.
Over three days, I had countless inspiring and rewarding conversations. It felt as if no major issue in the arts was left unexamined—though, of course, I had only scratched the surface! A key strength of ISPA, and its Fellowship programme (which this year supported professionals from 26 regions, myself included), is the opportunity to meet extraordinary people doing transformative work across the globe. These connections make this gathering invaluable, reinforcing the importance of global dialogue in shaping a more equitable
arts sector.
This year, the impact of global affairs was deeply felt. Geopolitical conflicts and political shifts were explored through an entire panel dedicated to unpacking these realities. The Navigating Conflict session stood out—showcasing ISPA’s willingness to embrace complex and deeply impactful conversations shaping our sector today. Topics ranged from censorship and artistic freedom to the responsibilities of cultural institutions in times of crisis. It was refreshing to see these urgent issues discussed, and I hope this commitment to pushing for critical dialogue continues in future congresses.
Other personal highlights included Alex Sarian’s humorous yet sharp provocation on The Audacity of Relevance, a blisteringly honest and vulnerable panel on the shifting landscape of leadership, and the invaluable moments shared informally over coffee or drinks. These brief yet meaningful exchanges provided insights into the realities of colleagues working in different contexts, revealing both shared struggles and unique approaches to tackling them.
Leading a 40-year-old grassroots, artist-led dance organisation in the UK, I found it particularly rewarding to connect with peers from countries such as Egypt, Israel, Jordan, Kenya and Singapore. Their context responsive models of supporting early-career and marginalised artists resonated deeply with my own experiences, sparking new ambitions for a more globally connected independent dance community—an idea now high on my agenda. The need for cross-border collaboration feels more necessary than ever, and I am eager to explore how we can build lasting structures for knowledge-sharing and mutual support.
One conversation that has especially stayed with me was with a colleague from New Zealand, who spoke about an Indigenous practice centred on long-term decision-making and our responsibility to both ancestors and future generations—what they called “grandchildren decisions”. This philosophy struck a chord with me, reinforcing the idea that our work must extend beyond the immediate, shaping the cultural sector, and the world, for those who come after us.
These global meeting points are essential for connection, provocation and exchange. But true progress comes from sustained collaboration, perseverance and a willingness to experiment and learn from failure. Meaningful partnerships forged beyond these spaces drive real change in the cultural sector. Our work shouldn’t be about short-term impact— but about embedding ideas that will shape the future. That sense of purpose will stay with me throughout the year and is one I’ll take into the next ISPA Congress in 2026 and beyond.
Reece McMahon
Executive Director, Chisenhale Dance Space
