By mid-evening, there was a noticeable change in the atmosphere within Freedom Park in Lagos. Offstage, Nigerian and Irish artists looked at each other as a little wind blew through the colonial masonry. Their partnership, which was developed during the 2024 Lagos Theatre Festival, was political, intimate, and clearly urgent in addition to being theatrical.
After a two-year hiatus, that festival was more than just a regional revival. Something bigger was ignited by it. Through a series of intentional, interrelated presentations, the performing arts, long marginalized by financial cuts and logistical challenges, are remarkably regaining their global presence. These aren’t only slots for performances. They are active dialogues.
Key Performing Arts Showcase Events Driving Global Revival
| Event Name | Location | Key Focus | Year(s) Active | Highlight |
|---|---|---|---|---|
| Lagos Theatre Festival | Lagos, Nigeria | Theatre revival, international collaboration | 2024–ongoing | Featured Nigerian-Irish works, cultural exchange centerpiece |
| Hong Kong Performing Arts Expo (HKPAX) | Hong Kong | Touring opportunities, pitch sessions | 2024–2026 | Next major edition planned for October 2026 |
| APAP | NYC | New York, USA | Performing arts industry gathering, advocacy | Annual (notably 2024) |
| Universal Music Group “Ignite” Showcase | Sydney, Australia | Promoting new music talents internationally | 2024–2025 | Debuted acts like Bryant Barnes, Good Neighbours |
| Jubilee Arts International Talent Showcase | Lisbon, Portugal | Multi-genre arts celebration from 20 nations | 2018 | Focused on cultural identity in the Ismaili community |
| Asia-Europe Dance Festival | Various ASEM Nations | Contemporary choreography and dance policy dialogues | Ongoing | Supported by ASEF, featured 50+ choreographers and seminars |
Consider APAP|NYC. For hundreds of artists from dozens of nations, the 2024 conference served as a turning moment. It was held in January, when it was extremely cold, yet it was still full of potential. Through keynote addresses and spontaneous pitch sessions in the hallway, APAP provided artists with a platform to advance funding, distribution, and policy in addition to a voice. It presented art as a form of infrastructure.
The change in intent is very novel. These expos and festivals are creating ecosystems rather than merely providing platforms. For example, the Hong Kong Performing Arts Expo focuses more on prototypes than on polished presentations. The organizers see comments as the new currency and explicitly invite works-in-progress. That is not only liberating for artists, but it is also very effective in creating content that is appropriate for global markets.
Thanks to programs like Universal Music Group’s “Ignite” series, musicians have seen a similar windfall. Rising performers were introduced to completely new audiences via the Sydney showcases in 2024 and 2025, frequently in languages or genres that were previously ignored by traditional A&R representatives. Not only were artists like Kashus Culpepper and Bryant Barnes found, but they were also positioned for export. Velocity was the approach, not volume.
A Portuguese curator described the 2018 Jubilee Arts Showcase as a cultural landmark, especially for the Ismaili community, during a panel discussion in New York. It was about how those acts represented collective identity in 20 different countries, not just about who performed. Long after the conversation was over, I continued to think about the emphasis on belonging rather than branding.
The same philosophy applies to dancing as well. In previous years, over 50 choreographers have performed in the festival series supported by the Asia-Europe Cultural Initiative. It has significantly raised the value of contemporary dance in both the academic and economic spheres through interactive workshops, thought-provoking seminars, and site-specific exhibitions. It’s a technique for communication, not just a way of moving.
The organizers have tapped into something particularly relevant at this time by organizing these events as multifaceted exchanges—performance, critique, policy, and teaching. For artists, being noticed is not enough. They wish to contribute to the development of the frameworks that control the life and breathing of their activity. In this way, festivals have become quite similar to summits.
The way in which these events recognize economic inequality is equally significant. Curated matchmaking sessions, travel grants, and hybrid accessibility are ethical changes rather than merely practical ones. They make it possible for marginalized voices to access the rooms where choices are made. And that’s structural reform, not charity.
Additionally, curation has developed. More festivals are emphasizing the incomplete, the unusual, and the experimentally beautiful rather than the familiar or safe. For up-and-coming artists who resist classification or convention, this change is especially advantageous. It raises the bar. Audiences are told: You can experience it without having to understand it.
Additionally, the idea that performance can be policy is becoming more widely acknowledged. Stage schedules are now accompanied by panels that address issues including streaming revenue reform, dance education standards, and visa accessibility. Discussions in Lagos seamlessly transitioned between transportation policy and dramaturgy. It serves as a reminder that civic design and culture are frequently closely related.
These celebrations serve as the cornerstone of larger initiatives for economic development in many cities. They generate short-term jobs with long-term effects, stimulate tourism, and revitalize inactive places. Surprisingly, a showcase can justify year-round arts initiatives or serve as the foundation for new funding methods in just one weekend. Frequently, the return on investment is both measurable and cultural.
Festivals also interfere with gatekeeping by incorporating international alliances. Hong Kong curators are currently in contact with Kenyan dancers. Malaysian puppeteers are working with Portuguese producers to create tours. It’s infrastructure redesigned, not just exposure. These linkages give artistic labor mobility, resilience, and creative energy.
There’s no denying the momentum. During the pandemic years, local resilience tactics evolved into global initiatives. And it’s becoming more and more obvious that, when done well, the showcase format serves as a platform, a stage, and a catalyst.
The message is very obvious, from the colorful stages of Lagos to the modern galleries of Lisbon: performance is a need, not an extravagance. And it’s not simply coming back because of these well-planned presentations. It is consciously and unrepentantly emerging into new forms, new dialogues, and new futures.