“The art industry in Malaysia is reflected in its diverse multiculturalism: from Malay, Chinese, and Indians, and to diverse groups of indigenous natives. The art industry is segregated, and the government support and funds operate within its own structure. Thus, independent practitioners are isolated in Malaysia. There have been government agencies working on supporting independent practitioners but as their focus is more on the creative economy, the direction might differ from solely looking into arts and cultural growth. In order to survive, independent practitioners had been drawing resources from individual connections and developed creative entrepreneurial models through their own endeavor. The local ecosystem can be categorized into non-profit, for-profit, and amateur, often cross path and intertwined. E-Jan is much interested in examining multiculturalism, interculturalism and transculturalism, how each of them crosses the other and in understanding the dynamic along the development. Her keywords are Diversity, Flexibility, and Coexist.”

“In advocating a sustainable ecosystem for culture, social engagement of arts, and cultural learning/understanding through the regional networks and connection, those arts and cultural activities will impact society.  Jennifer believes that those activities of networking will empower cultural practitioners to emerge from current issues of being isolated from others as well as being in a position of financial fragility. Jennifer's keywords are Art, Culture, and Society; Connect, Expand, and Broker; Context, Empathy, and Cohesion.”

Confirming the role of arts in the areas of society, culture and ecosystem, we defined “sustainability” as securing the ability to sustain to lay out the future together. We also agreed on the need for structural changes to this end. As understanding that “changes” are bringing about a shift in perspectives on society, structure and attitude while pursuing sustainability, we developed our dialogue into further specific questions.

"While based in the UK and contemplating his producing practice, the following questions came to Shai’s mind, “Who do we not see on our stages? Whose stories are not being told? Where are the arts leaders who look like me?” These questions laid the foundation for his current practice exploring multidisciplinary performance-making, lesser-told narratives from Singapore and Southeast Asia, and internationalization. As a producer, he believes it is important to work collaboratively across mediums with a need to break borders and barriers. Shai also believes in arts education and provides mentoring and development opportunities for emerging arts producers. His keywords are Diversity, Opportunity, and Connectivity."

The Thai theater scene was reviving as the artists adapted to the "new normal." They are exploring new platforms and tools, and more opportunities came from offline experiences. Despite that, artists had lost their spaces such as theaters and studios as they were permanently closed. In response, the commercial spaces have risen. Artists and others rent the spaces to showcase their work or to establish a network among themselves. However, the development was put on hold due to COVID-19, and there's still a lack of manpower and financial support. Suranya believes that even though the Thai theater scene has come back and there is a lot of potential, more space, both physical and opportunity space for artists' incubation, and research & development process is needed. Her keywords are Censorship, Resources, and Diversity.”