Voices from ESEA Diaspora Art Collectives | Ming Strike and their allies (Chinese/English)
Voices from ESEA Diaspora Art Collectives:
An Audio Documentary of 5 Self-Organizing ESEA Artist Groups in the UK.
Co-produced by Ming Strike and Ensemble Not Found
Transcript and Introduction by Ming Strike
Launched in 2020, Ming Strike is a podcast that explores current events and challenges in the performing arts through the eyes of Asian art practitioners living in the UK. Ming Strike is at the same time the collective producing the podcast, currently formed of four Mandarin-speaking East Asian performer-researchers (Mengting Zhuo, Howl Yuan, Zhiyue Hu, and Shuyi Gao). Originally formed in 2018 for a performance titled Lucky Ping Pong Dragon Karaoke, the group expanded into podcasting to document their experiences as diasporic artists navigating multiple cultural contexts.
As of February 2025, we’ve produced 36 episodes, 23 of which feature guests or collaborators. Most episodes are in Mandarin, reflecting our cultural and linguistic roots, but we also experiment with English subtitles and bilingual formats to reach broader audiences.
The Audio Documentary: A Collective Voice
In May 2024, Ming Strike collaborated with Ensemble Not Found (ENF) to produce a special episode titled “An Audio Documentary of 5 Self-Organizing ESEA Artist Groups in the UK.” This 90-minute episode features voices from five East and Southeast Asian (ESEA) artist collectives: Ming Strike, Ensemble Not Found, Gourd Canteen, Hidden Keileon, and LuckyPot. What began as a casual exchange of ideas about organizing strategies and identities grew into a rich, multi-layered exploration of life and work as migrant artists in the UK.
The episode captures a wide range of perspectives, from those who migrated to the UK at a young age to those who arrived more recently after completing their studies. The diversity of experiences—spanning theatre, visual arts, and community arts—offers a rare and valuable snapshot of the ESEA artistic community in the UK. Each collective brought its unique voice to the project, resulting in a dynamic and deeply personal audio archive.
This episode is a living document of the struggles, joys, and aspirations of young migrant artists. The participants, aged 20 to 35, represent a vibrant cross-section of the ESEA diaspora, each contributing their unique insights on identity, survival, and the future. By sharing these stories, we hope to foster a sense of solidarity and understanding within the ESEA artistic community and beyond.
“有一个地方，有一口锅。” – 幸运锅 Lucky Pot
“There is a place, and there is a pot.”
“我们就像一个乐队” – Hidden Keileon
“We are like a band.”
“我们自我介绍里用的一个词，是一个initiative，翻译成中文有点尴尬是个‘倡议’，但大概是强调它是一个事儿，而并不是它是某一种形式的组织。” – Gourd Canteen
“In our self-introduction, we use a word—’initiative’.The main point is to emphasise that it is something happening, rather than a specific form of organisation.”
“一个人做不了戏，做不了剧场。” – 某个ENFer
“One person alone can’t make theatre happen.”
“在不同地方认识的，可以一起做点事。” – 某个小明
“We met in different places. We can still do things together.”
The diversity of voices—from different regions (Mainland China, Hong Kong, Taiwan) and disciplines—creates a rich tapestry of perspectives that is both intimate and expansive. This podcast aims at creating a space where multiple voices can coexist, where differences are celebrated, and where the complexities of living “in-between” cultures are explored with honesty and care.
Listen to the Podcast
This episode is co-produced and delivered by members from Ensemble Not Found and Ming Strike. Edited by Flo Yuting Zhu.
This podcast is in Mandarin and Cantonese.
An English transcript is provided below for accessibility.
English Transcript
This is an abridged version of the original transcript for clarity and brevity.
Link to the transcript in Chinese 播客中文文字版：https://mingstrike.com/posts/32-text
Full Interview Transcript:
Gourd Canteen – Weitian
It’s currently hailing outside, so if you hear some ding-dong sounds, that’s the sound of the hail.
ENF-X004
In this episode, we received a letter from our fellow podcast Ming Strike: “To Ensemble Not Found, greetings. We are Ming Strike, who have been in the UK for almost ten years. We are curious about you, who are in your fifth year in the UK.”
Ming Strike – Zhiyue
We received a letter from Ensemble Not Found, which begins: “To Ming Strike, greetings. We are Ensemble Not Found, now in our fifth year in the UK, and we are curious about you, who have been in the UK for almost ten years.”
Gourd Canteen – Cindy
Hello, Mings and ENF. We are Gourd Canteen, established three years ago. Among our members, the longest stay in the UK is seven years.
Hidden Keileon – Ghost
We are Hidden Keileon, established four years ago. I am Ghost. Among our members, the longest stay in the UK is 19 years.
LuckyPot-Lik
Hello, Mings and ENF. We are LuckyPot, established a year and a half ago. Among our members, the longest stay in the UK is around four to five years.
Who Are the Five Organisations? Why Did Everyone Choose the UK as Their Base? (00:45)
ENF-V11
We are a Chinese theatre collective based in London called Ensemble Not Found. Backstage Audience is our space to chat with everyone. Our members are:
ENF-X004
Actor X004.
ENF-V11
Stage manager V11.
ENF-W47
Actor W47.
ENF-Q2666
The one who takes care of meals, Q2666.
ENF-K12
And director K12.
ENF-X004
Do you think you chose a good time to come to the UK?
ENF-K12
No, because the pandemic took away three years.
ENF-Q2666
Actually, I think it was good timing, just in time for the PSW (Post-Study Work) visa. Although I’ve always heard that arts funding is decreasing every year, I still think the UK has the most funding I’ve ever seen.
ENF-X004
Since I haven’t been here for long, I can’t judge whether it was a good time or not, as I lack a clear comparison.
ENF-Q2666
My comparison is with those who came before me. Many left early because they didn’t have the PSW visa. Many wanted to stay but had no opportunity.
Ming Strike – Zhiyue
When did Mings arrive in the UK?
Ming Strike – Mengting
I arrived in London in 2015.
Ming Strike – Howl Yuan
I came to London for my master’s in 2014.
Ming Strike – Zhiyue
I arrived in the UK in 2016.
Why Did You Decide to Stay in the UK? (03:00)
Ming Strike – Zhiyue
The next question is: What was the key moment that made you decide to stay in the UK? First, I didn’t stay—I’m not in the UK now.
Ming Strike – Howl Yuan
I got a working holiday visa, so I stayed.
Ming Strike – Mengting
If you hadn’t gotten the visa, would you have left?
Ming Strike – Howl Yuan
Yes.
Ming Strike – Zhiyue
But after your working holiday visa expired, you still made efforts to stay. Why?
Ming Strike – Howl Yuan
I see it as a step-by-step process. At first, I wanted to try for the working holiday visa because I felt moving to a new country was difficult. After just a year, I had barely gotten to know the place, and then I had to leave. So I tried applying for the visa and was lucky to get it. Once it expired, I thought about further education. My background, my previous degree isn’t in arts, so I wanted to learn more. Institutional support seemed beneficial. Since I had the chance, I applied for a PhD, and that’s why I’m still here.
When Did You Truly Identify as an Overseas Chinese Artist? (06:15)
ENF – W47 Last year, when I watched a friend’s show and realised I needed to prepare a small gift for every friend on stage.
ENF-K12
For me, it was when I posted a review about the Taiwanese drama Wave Makers on RedNote (a Chinese social media platform), and it was quickly censored.
ENF-X004
In our fifth podcast episode, we discussed this drama in depth, and that episode also got banned on RedNote. If you’re curious, you can check this episode out. For me, it was in late 2021 when I returned to China for a few months. The pandemic still loomed, and the atmosphere felt unfamiliar. I realised I was no longer used to it, so I decisively returned to the UK.
ENF-Q2666
Every time I go back to China, I feel like I’ve grown too accustomed to creating and living in the UK.
ENF-W47
I’m unsure if I fully identify as a Chinese artist in the UK, but I know that here, I have the connections and friends needed to do theatre.
ENF-Q2666
Another defining moment was attending the Vault Festival last year. Ticket sales were poor, so I desperately posted an open letter on Twitter inviting artists to see the show. To my surprise, many British artists supported and shared it, drawing a good audience.
ENF-W47
And we won an award.
ENF-X004
It was an Artists’ Choice Award. That was the moment I felt recognised as an artist.
ENF- Q2666
When people around you see you as an artist, it means you are one.
Why Form a Collective? What Sparked the Idea? (07:30)
ENF-X004
I think it’s because one person alone can’t make theatre.
ENF-K12
Q2666 and I met in 2019 while studying for our first Master’s degree in the UK. We immediately wanted to start a theatre company together at some point in the future.
ENF-V11
Originally, I planned to return to China and work a white-collar job, but somehow I got “tricked” into this.
ENF-W47
At the time, Q2666 and I started discussing how amazing it would be if we could eat together, make theatre together, and form a company together.
Ming Strike – Mengting
We met around 2017 and later worked on a performance project together.
Ming Strike – Howl Yuan
Back then, I was organising an event in Bristol and invited Mengting, Burong, and Zhiyue to perform. We met in different situations and thought, “Hey, we could make something together.” That’s how we ended up doing our first show, Lucky Ping-Pong Dragon Karaoke.
Ming Strike – Mengting
Howl is great at gathering people. As a curator, he organized events, brought people together, and hosted even more activities.
Ming Strike – Howl Yuan
It felt necessary. If you don’t live in a major city—especially if you’re outside London—you don’t randomly meet people. You have to actively engage.
Ming Strike – Mengting
That’s an interesting point. Most of the people we interviewed are metropolitan Londoners. Howl’s experience in Bristol was different. His social network was different. Being proactive was crucial.
Ming Strike – Zhiyue
In Exeter, it was even worse. I relied on you to bring me into a bigger-city environment. But I believe the context now is different from 2015 or 2016.
Ming Strike – Howl Yuan
In a place like Bristol, it’s rare to meet people with an East or Southeast Asian (ESEA) background, especially in the arts. When you do, there’s a natural urge to connect. The situation has changed a bit since then. Now, Bristol has an ESEA arts community, with regular events. But most of them are in visual arts or music—there’s still very little performance work.
Gourd Canteen – Cindy
Weitian and I used to live in Scotland. When we moved to London, we noticed that although there were many Chinese-speaking artists, there wasn’t a platform or space where they could gather, collaborate, and engage beyond personal acquaintances. A few months after arriving, we first thought about creating Gourd Canteen.
Gourd Canteen – Weitian
When we describe Gourd Canteen, we use the term initiative rather than defining it as a specific organisational structure. It’s about action rather than form.
Hidden Keileon – Ghost
We are all independent artists and curators. We admire each other’s work, often collaborate professionally, and get along well personally. Everyone has different skills, and we realised that formalizing as a company would give us more opportunities. As a Community Interest Company (CIC), we can apply for larger grants and have a more significant impact.
LuckyPot-Lik
My starting point was simply survival—for myself and those around me. In the UK, individuals face fundamental survival issues: unexpected events, housing problems, losing phones or documents. These everyday struggles become overwhelming.
When discussing community-building in London, we realised that it’s impossible to survive in this city alone. Our name resembles a takeaway restaurant, emphasizing our transmigrant identity—always in motion, like migratory birds. Compared to long-established British-born Asian communities, recent Chinese arrivals have a different context. Due to UK visa policies, many Chinese people in London stay for only three years before a new wave replaces them. This cycle makes deep connections difficult.
When we started LuckyPot, the name was for a hotpot restaurant. The idea is that hotpot requires everyone to share and cook together. We wanted to create a space—a metaphorical “pot”—where people could exchange questions, experiences, and support.
How Do These Collectives Operate and Divide Responsibilities? (15:12)
ENF-X004
At first, we divided responsibilities based on our theatre roles—actors, stage managers, directors, etc. For each project, we took on tasks we were best suited for. On the administrative side, we have long monthly meetings and spreadsheets assigning responsibilities. We don’t have an artistic director; instead, we rotate leadership depending on the project.
ENF-Q2666
Recently, we registered as a Community Interest Company—a profitable community service company.
Ming Strike – Howl Yuan
Initially, we didn’t take organisational roles seriously. It was more about drinking and chatting. But last year, we started thinking about the collective’s long-term structure. We operate non-hierarchically—no bosses, no one being accountable to someone else. We function as a cooperative. We commit to running our podcast, while other projects are flexible. Anyone can pitch an idea, and we discuss it in meetings.
Ming Strike – Zhiyue
Aside from our podcast and zine, do we do anything else? Originally, we came together to perform. That’s always been my biggest hope—that we can create artistic and performative work together.
Gourd Canteen – Weitian
If we had to fit into a UK organisational category, we’d probably be considered an Unconstituted Association—a non-profit group that doesn’t require formal registration but can still operate under a shared identity.
Hidden Keileon – Ghost
We have six members, each handling different tasks based on their strengths. Sandra curates projects, John builds partnerships, Angela focuses on music and networking, etc. Everyone’s roles balance out, creating a strong team identity. Whenever we set goals, we engage in long discussions to convince each other—this helps us understand how best to collaborate.
Hidden Keileon – John
When we registered the company, we debated whether to become a CIC or a charity. A charity requires a Board of Trustees who regulate the company’s directions and operations, which would limit our autonomy as directors. So we chose the CIC model, which allows us to collaborate freely while still accessing arts funding.
LuckyPot-Lik
We manage LuckyPot through a shared Google spreadsheet. Anyone who adds their skills or resources to the list becomes a member. At its peak, we had dozens of members, with a few core organizers responsible for spaces. Some of these spaces come from members who offer their studios or homes for events. Currently, we have a few core operatory members. We operate flexibly—there’s no rigid KPI structure or fixed leadership. Instead, our approach is project-based co-creation.
Why Is Forming a Grassroots Collective Necessary? What Are the Benefits? (21:15)
ENF-W47
Theatre is inherently collaborative. Forming a grassroots collective means that beyond realizing our own projects, we also support each other’s work and build shared goals. Since we have similar artistic aspirations, we can pool resources more efficiently. Additionally, because we come from similar East Asian cultural backgrounds, we reach consensus on certain values more quickly.
Another crucial reason is the visa situation. After graduating, we need to apply for the Global Talent Visa, which requires us to build a strong portfolio of artistic work, press coverage, and industry recognition. Collaborating within a collective helps us accumulate projects faster.
Each of us has different creative styles and industry connections, so by coming together, we expand our reach and introduce more people to our work.
Ming Strike – Howl Yuan
I also think it’s important to ask: What exactly is a small group? A collective is one thing, but what we’re doing is different—we’re running a platform (through our podcast). Whether or not people listen to our podcast, we have created a space where voices can be heard.
Ming Strike – Zhiyue
If you create a performance and present it on stage, isn’t that also a way for your voice to be heard?
Ming Strike – Howl Yuan
Yes, but when you participate in an existing festival, you’re being showcased on someone else’s platform. That’s a very different experience from running your own. No matter how ‘DIY’ we are, we are running a platform. For example, when I first started curating and programming, I immediately noticed that people looked at me differently. When they realised I was a curator instead of just an artist, there was a strange shift in power dynamics. Similarly, our podcast isn’t just a creative outlet—it’s also a form of art criticism. By hosting these discussions, we shape narratives and decide what gets talked about.
Ming Strike – Mengting
That’s really important—because we control the platform. It’s not subjected to institutional censorship, nor is it just an individual project.
Gourd Canteen – Cindy
One major reason to form grassroots collectives is resource-sharing. Many of us only have limited individual resources, but when we gather together, we can mobilise more opportunities—whether it’s space, time, skills, or funding. For example, one person’s funding application might end up benefiting an entire collective.
In an ideal scenario, this would happen naturally, but the reality may vary. Another reason is that, as an independent cultural worker, I sometimes struggle to justify my work in an institutional context. For example, if I, as an individual, wanted to invite an artist for a public discussion, it might feel awkward to secure a venue. But if I act as part of a collective, I have a stronger foundation to initiate collaborations. Grassroots organising creates that framework.
Gourd Canteen – Weitian
Sometimes, the same project carries different weight depending on whether it’s initiated by an individual or an organisation. If I invite someone as part of an organisation, even if it’s just a two-person group, the entire dynamic changes. Even when you’re just a one-person operation, having an organisational identity can help create a completely different sense.
ENF-X004
What are your long-term hopes? How far do you want to take this?
ENF-V11
Our short-term goal is to tour some of our existing productions. In the mid-to-long term, we want to build enough resources to support other artists—to become a production platform thatproduces new work of others. In the long term, we’re also thinking about creating a prop rental service and becoming an NPO (National Portfolio Organisation), so we can receive regular ACE (Arts Council England) funding.
ENF-Q2666
In the UK theatre scene, most funding comes from Arts Council England (ACE). Most people apply for project-based grants, which means funding is not guaranteed. NPO (National Portfolio Organisation) status is different—it means ACE commits funding to you every three years. This provides long-term financial stability, allowing organisations to pay artists a stable salary rather than relying on uncertain one-off grants.
ENF-V11
In the very long term, some of us want to make films. We also have random, ambitious dreams—like opening a restaurant or a BnB, with residency space where artists can create work. It would be great to own our own theatre space—maybe one in China, one in the UK.
ENF-X004
I really hope we can own our own space within the next 5–10 years.
ENF-W47
A space where we can eat, live, rehearse, and perform.
ENF-Q2666
The most important thing in this dream of a restaurant or BnB is having a space—that’s the foundation.
ENF-X004
At this moment, what’s our biggest anxiety?
ENF-K12
The fact that even though we’re incredibly busy, we still don’t earn enough to sustain ourselves.
We’re essentially running on passion.
One of our biggest goals is to create a stable income stream so that our work is financially sustainable.
Accessing Public Funding and Resources in the UK (29:00)
ENF-V11
First, l need to clarify that we mainly work in theatre, so our knowledge of funding in other arts fields (e.g., visual arts) is limited. Our experience has been:
- Networking and Community – Learning from peers and friends who share funding opportunities and being proactive in seeking “mentors” who are willing to help.
- Online Resources – Following Instagram accounts that post about funding opportunities and regularly checking updates.
- Workshops – Attending producing workshops to get guidance on applications and institutional contacts.
- Google Searches – If it’s urgent, frantically Googling things like “art funding UK” when in urgent need.
- Local Councils – Some councils provide small grants for arts projects, see which programmes fit your visions of your projects and get in touch. If competition isn’t fierce in your area, these can be relatively easy to obtain.
The biggest challenges for newcomers in theatre are finding venues and securing funding. Many theatres require you to have an initial version of your work before they’ll programme it. At that stage, you can only rely on networking—attending arts festivals, meeting people, or borrowing rehearsal spaces from friends.
A key strategy is making yourself visible to funders before applying—reach out to venues and collaborators early, so you can reference their support in your funding application.
Regarding Arts Council England (ACE) funding, while it offers substantial amounts, applications are highly competitive. ACE prioritises cultural and social impact over pure artistic merit. Including themes like minority representation, LGBTQ+, or neurodiversity can increase your chances. If you struggle with English writing, you can apply for a Support Worker through ACE to help refine your application.
ENF-X004
Do you feel there’s a gap between you and earlier generations of Chinese artists in the UK?
ENF-Q2666
Not really, because the predecessors we’ve met have all been incredibly kind.
The only potential gap is that, as immigrants, our situation is somewhat different from established local groups. But honestly, every ‘senior’ I’ve met has been great, which was a huge culture shock for me.
First Impressions of the UK Arts Scene and How It’s Changed Over Time (35:07)
Ming Strike – Howl Yuan
The way you experience the arts scene as a student versus after graduation is completely different.
My first impression of the UK? “Why do all the shops close so early?”
Ming Strike – Mengting
Everyday life and the arts scene are intertwined. I was just telling someone the other day—back in my first few years in the UK, I worked as a community volunteer, and travelled around, including many places in Scotland, taking cheap buses and saving money in ways that feel impossible now.
Ming Strike – Zhiyue
Back then, you could take a £1 Megabus.
Ming Strike – Mengting
Exactly. There were millions of ways to save money.
Rent was also much cheaper—I had a room in London for £500/month, and there were plenty of options at that price. Now? I can’t imagine.
In the arts sector, inflation has had a huge impact. Prices have soared, but wages haven’t risen, and arts funding keeps shrinking. Everyone is struggling and burning out.
Ming Strike – Howl Yuan
Looking back, the past decade has been incredibly eventful in the UK. When I arrived, Scotland was having its independence referendum. Then there was a general election, a Conservative majority, Brexit, another election, and more instability. The UK has been politically chaotic for ten years. Brexit means EU arts funding cut, and the Conservatives kept slashing public arts budgets.
Ming Strike – Zhiyue
We haven’t actually been that proactive in seeking public funding.
Ming Strike – Mengting
Also to add, whether or not you rely on public funding is a political decision. Some artists refuse to depend on ACE and instead explore alternative fundraising methods. Every funding source comes with trade-offs.
Some arts grants have remained the same amount for years—for example, a £1,000 grant in 2015 is still £1,000 today. With inflation, that money is worth far less, making applications less attractive.
Ming Strike – Zhiyue
Have there been any grassroots arts organisations you admired but that disbanded?
Ming Strike – Mengting
A lot of people have come and gone. But it’s been long enough that I can’t recall specific names.
Ming Strike – Zhiyue
Sometimes, it’s not that an organisation disbands, but that the key people move on.
For example, Yellow Earth Theatre had a predecessor called Mulan Theatre. It wasn’t grassroots, but it was a significant presence in the UK Chinese theatre scene.
Ming Strike – Howl Yuan
I think if an organisation disappears, it’s usually for a reason.
As outsiders, we might find it a shame, but for those involved, it might have been the right decision.
No organisation lasts forever. They exist as long as the people behind them do. When those people change, sometimes it’s best for the organisation to end, making space for new things.
How do you navigate the relationship between your identity and artistic creations? Do you prefer working with ESEA artists? (41:15)
ENF-K12
Identity is something that you can neither avoid nor erase.
It’s like how a female creator can’t create from a male perspective—your identity shapes the lens through which you create.
Since we can’t ignore it, it’s better to embrace it and explore how to use it creatively.
ENF-X004
We didn’t choose to be Asian, but no matter what we create, our work naturally carries that identity. A friend once told me: I’m the mother of my work. No matter how my work evolves, it will always be my child, and it will always have the DNA of an Asian artist.
That said, when applying for funding or commissions, we sometimes strategically highlight our identity—because these narratives increase our chances of being selected. At the same time, we also have to consider the audience’s reception—especially British audiences and how well they perceive ‘Asian narratives’.
ENF-V11
We collaborate with a lot of ESEA (East and Southeast Asian) artists simply because they’re all very kind people. I frequently work with immigrant artists or global majority artists. In a shared cultural background, people can easily understand each other’s perspectives.
That said, we don’t limit ourselves to only working with ESEA artists. What’s most important is finding collaborators who truly understand each other’s realities— including language-related situations. It is significant in creating work.
Ming Strike – Mengting
When I first arrived in the UK in 2015, I used to label myself as either “Chinese” or “BAME” (Black, Asian, and Minority Ethnic). Back then, there were a lot of organisations with “Chinese” in their name, like Chinese Arts Now (which later became Kakilang) or CFCCA (Centre for Chinese Contemporary Art). Over time, the BAME label fell out of favour, and more people started using ESEA. This shift reflects the changes in the UK’s cultural and political landscape.
Another major change: The number of Chinese students in the UK has doubled over the past decade, including many young Chinese artists. Some of them could study in programs where almost the entire cohort is from China. Graduate shows are filled with Chinese names, and their daily interactions are primarily in Chinese. This has created a new ecosystem.
Ming Strike – Howl Yuan
The concept of Chineseness has also changed. It used to be a broad ethnic category (anyone of Chinese descent), but now it’s increasingly linked to national identity (Chinese citizens vs. overseas Chinese). There’s a lot of room for different interpretations, and as Chineseness becomes more geopolitically charged, we might need new terms to describe this area.
Ming Strike – Zhiyue
So, how does your artistic work relate to your identity?
Ming Strike – Mengting
I try not to let my identity define my work. At its core, my artistic practice is shaped by Chinese philosophy—ideas like harmony between humans and nature, minimalist aesthetics, etc.
But these aesthetic and cultural influences aren’t something I push for—they’re part of my creative intuition. What I don’t want is to reduce my work to a cultural label just to make it more marketable.
Ming Strike – Zhiyue
So, your work is a part of your individuality, but you resist framing it in a fixed identity category.
Ming Strike – Mengting
Yes. So, about the question: Would I prioritize collaborating with more ESEA artists? Not necessarily. If we connect naturally, great. If we don’t, I won’t force it.
Ming Strike – Howl Yuan
Same here. To echo Ming Strike’s s manifesto: ESEA identity doesn’t need to be performed—it can be internalised as a creative methodology. Our podcast doesn’t have to focus on “Asian topics” in every episode. But because we are the ones speaking, our ESEA perspective is naturally embedded in the conversation.
We don’t need to force a connection to “ESEA identity” just to fulfil some external expectation. Belonging isn’t about checking identity boxes—it’s about meaningful connections.
Ming Strike – Mengting
I feel a stronger sense of belonging among first-generation immigrants rather than with elite, Western-educated Asians who might share my ethnicity but not my lived experience.
Ming Strike – Howl Yuan
Though, to be fair, there are elite first-generation immigrants too—so maybe this is more about class differences.
Gourd Canteen – Weitian
This is a difficult question to answer. Back in Scotland, we weren’t even aware of identity politics in the arts. There weren’t any tangible organisations or communities that revolved around identity in our surroundings either. If you wanted to do something or pursue your own research, you simply did it—identity was not a thing.
But when we moved to London, suddenly identity became ‘a thing’. It became something we had to actively think about, negotiate, and address. And through the experience of living and working here, it gradually became clear that our so-called Chinese identity is in a rather awkward and complex position. It doesn’t quite fit within the established categories of ethnic minorities in the UK, yet at certain points in history, the meaning of “Chinese” or “Asian” in the British context has been incredibly broad. These overlapping and sometimes contradictory definitions make identity an intriguing and important subject for us to explore.
The term ESEA is actually quite new. A lot of these institutional labels are top-down classifications—casting direct influence on terms used in funding applications. These categories somehow became popular, or people naturally started using them. But I still have reservations about how useful they really are. So I don’t know how to answer this question.
Hidden Keileon – Bonnie
For us, identity and creation are deeply connected. We create work based on our lived experiences and the communities we’re part of. Our works are from lived experiences, and loyal to such experiences. We hope to create resonance among our audiences and heal from the past.
Hidden Keileon – Jeffery
Our organisation’s purpose is to create work that doesn’t yet exist—work that’s difficult to imagine within existing artistic frameworks. We explore themes of identity, borders, geography, and universal human experience, which are not limited to ESEA artists. However, because we are in the same community, we continue to work with ESEA artists, on building shared narratives and networks.
LuckyPot-Zhaozhao
I think the UK provides better working conditions than China, but Asian artists here are very marginalized. For example, in London, there’s a major divide between older and newer waves of Asian immigrants, and it’s hard to generate connections between different classes and generations of them. At the same time, we aren’t trapped in a fixed national or racial category. We have the freedom to define our own identities and artistic approaches. That said, British institutions love to brand things as ‘diverse’—but often fail to make real change. Sometimes, the more we engage with ‘diversity frameworks’, the more it feels like a trap.
LuckyPot-Julia
However, even though we do not actively label ourselves with these identities, such adjectives have to be used to describe individuals on certain occasions. I will not emphasise or erase the connection between me and my origins. The labels of traditional Chinese culture are embedded in my creative approaches, so they speak for themselves. If we move the question to a Chinese context, some other aspects of this discussion don’t make sense anymore. The progress in the arts scene is at a different pace, and some more common questions cannot be discussed. There lies a paradox.
Can We Survive Off Art? What Support Systems Do We Need? What Does an Ideal Arts Infrastructure Look Like? (57:00)
Ming Strike – Zhiyue
Do you think you can achieve financial independence purely through artistic work?
Ming Strike – Mengting
No. In the UK, I don’t think it’s possible.
Ming Strike – Howl Yuan
I think it’s not possible anywhere in the world.
Ming Strike – Mengting
Unless you live in the mountains and sell one painting a year to survive.
Ming Strike – Zhiyue
Or unless you find a very wealthy patron.
Ming Strike – Mengting
That’s how it worked in art history. Artists in the 18th century all relied on patrons.
Ming Strike – Zhiyue
Or you could work in a university and teach.
Ming Strike – Howl Yuan
But that’s not making a living from art, that’s making a living from education.
Ming Strike – Zhiyue
Art is just the entry point, but the money you make in the end often doesn’t come from art itself.
Ming Strike – Mengting
Depends on how you define this question.
Ming Strike – Howl Yuan
There are many ways to make money; you can find your own approach.
Ming Strike – Zhiyue
In terms of support models, while in university, you can get material resources and technical support more freely. But fundamentally, it’s a “you pay, you get” structure—education is a financial transaction, not a real support model.
Ming Strike – Mengting
I think an ideal arts infrastructure would include affordable housing and affordable studio spaces.
When it comes to support systems, if there were some kind of framework that really allowed artists to meet each other and connect over a longer period of time, that would already be very helpful.
Gourd Canteen – Cindy
I feel that when Scotland had more funding, the art world felt very nice. You didn’t have to fight so hard for resources; you could take your time and do things at your own pace and you could have support. The cost of living there isn’t high.
After coming to London, I realised it wasn’t a great example of a supportive environment. For example, among my classmates in London’s universities and art schools, many people feel that the administration is terrible, and student support is awful. It feels like you are paying for a service rather than being part of a supportive educational community.
When I studied in Scotland, I was in an art history department, and it felt like we were surrounded by caring people. The two administrators in our department were very supportive of students. They genuinely cared about us, would talk to us about things beyond just academics, and they would provide guidance on any issue they could help with.
So I think London’s education system is different, and this reflects the larger way people interact and support each other in different places.
Gourd Canteen – Weitian
I want to answer the question about infrastructure because I think it’s very important, but I don’t think I can answer it fully in just five minutes.
When we started Gourd Canteen, we were already thinking about how to structure our events to directly address issues in the UK, such as university strikes, visa challenges, and funding difficulties.
Both of us had lived in Scotland before moving to London, so we had some knowledge of how the system works. We understood how funding and policy impact individuals and artists. I think having that awareness is important, especially in the UK. Other immigrant communities and minority groups have been through this process long before we arrived. They have learned how to fight for their rights, navigate funding structures, establish community spaces, and understand how the system to access art funding works.Technically, public funding should be equally accessible to anyone legally residing in the UK.
Hidden Keileon – Jeffery
The support models we’ve encountered in the UK are mainly funding from Arts Council England (ACE) and various charity organisations.
For the past few years, we’ve been working on a project basis, but recently, arts funding has been in crisis. There’s less money for projects, the cost of living has risen, and competition for funding is getting more intense.
The limitations of charity funding have also made us rethink how resources are distributed and what that means in terms of class structures.
The support model we are now focusing on is building deeper relationships with partners and organisations that share our values, to collectively shape and advocate for a more diverse and equitable cultural industry.
Hidden Keileon – John
For us, an ideal artistic infrastructure would include more resources to support independent artists and freelancers, allowing them to live a more stable life so that they can create more thought provoking work.
Beyond just funding, we also need support from people in the industry. People need to understand that freelancers operate under different constraints, and we should be working towards a healthier, more sustainable industry model.
ENF-Q2666
I think the best support models have a few characteristics. First, they need to be accessible. Second, they need clear eligibility criteria—whether they’re for young artists, mid-career artists, or elderly groups.
For example, the SHIFT+SPACE program at Theatre Deli is something we’ve benefitted from. They provide free rehearsal spaces, allow you to stage a scratch performance, and you get to keep 100% of the box office revenue. You don’t need to be a formally established theatre company to apply. You just need an idea.
ENF-X004
They also have a drop-in session where you can book a free 30-minute online consultation with a member of their leadership team. You can ask them any questions you have about funding, producing, or other industry concerns. I’ve done it before, and they gave me really practical advice.
ENF-Q2666
Another venue that used to be great for artists was Vault Festival, but it’s now paused due to funding issues. It had low barriers to entry and was a great place to meet other artists.
ENF-X004
Camden People’s Theatre is another venue that offers a lot of opportunities. They have open calls for different programs, such as a feminist theatre festival and a solo performance night. They offer small grants for early-career artists as well as seed commissions for individuals.
ENF-Q2666
If we’re talking about an ideal arts infrastructure I think Universal Basic Income (UBI) would be a great solution.
ENF-V11
We’ve discussed this before, but it’s hard to imagine it becoming a reality.
ENF-Q2666
I would still like to imagine a future where UBI becomes a reality. There’s a misconception that struggling is part of being an artist, that suffering is noble. But that’s a toxic idea. Art should be a profession like any other, and artists should be paid fairly.
The way we talk about artists in Chinese and English is also very different. In English, “artist” is a profession. But in Chinese, “艺术家” (yìshùjiā) feels more like a title of honor, something you only earn after you’re dead.
ENF-W47
I do think what we do is valuable, but economic value and artistic value are not the same thing.
We also need better education about how to sustain a career in the arts, such as support from administration and knowledge about sustaining our lives. These are essential for bringing our work further.
ENF-X004
A healthy artistic infrastructure would allow people to engage with art as a natural part of life, rather than as something exclusive or inaccessible. If I feel like creating something, I should be able to feel like I can just grab some tools and make a start; if I’d like to see some shows, I should be able to feel like I can just walk into a theatre. Expanding the groups of both the consumers and producers would make a better ecosystem.
ENF-Q2666
Art shouldn’t be too elitist. I’ve been thinking about Universal Basic Income for a while, feeling like it could bring more people into the space, rather than just funnelling more money to a few individuals.
ENF-Q2666
The generation who arrived before us might feel like things in the UK are getting worse, but I think public funding helps make art less detached from the general public. If the funding mainly came from private sources, art would lean more toward the tastes of high-end collectors.
ENF-W47
People who don’t understand art often think it has a high entry threshold. But we sell tickets for just £10. In Taiwan, some people think going to the theatre is a luxury, but in the UK, watching a play is part of the cultural habit. If we create works that feel like part of everyday life, art won’t feel so separate from people’s daily experiences. You can go out for a fancy meal, or you can go to the theatre regularly—it’s the same idea.
ENF-Q2666
And in the UK, you can drink in the theatre, have ice cream during the interval, and you don’t have to sit perfectly straight and proper.
ENF-X004
I hope audiences feel like they have the right to judge a piece of work, rather than feeling like they should leave quietly if they don’t understand it.
ENF-V11
No one is more noble than anyone else. People who create art are not superior to those who appreciate it.
01:15:39 – ENF-W47
But I do hope creators are seen as people of value, because we are all working hard to create.
On Working Survival Jobs—What Part-Time Jobs Were Interesting? (75:50)
ENF-X004
I’ll start by sharing a few jobs I’ve done. The most interesting one was being a museum guide. While preparing for the tours, I learned a lot of knowledge. For me, it was a very one-way form of communication, where I could just output information without needing too much back-and-forth with people—perfect for an introvert like me.
ENF-Q2666
I worked at a rehearsal studio reception desk—it was pretty relaxed, and I had a lot of time to do my own things.
One side note: the UK’s visa system is relatively friendly to artists in terms of allowing part-time work—much better than the restrictions in the US.
ENF-W11
You can also work as front-of-house staff at theatres. It’s not particularly exciting, but at least you get to be around interesting performers.
ENF-W47
I’ve worked at a theatre’s Front of House, which meant I got to watch different performances every week. That was a great perk.
Another interesting job I had was role-playing for medical students. During their training, medical students have to practice patient interaction skills, so I played different patient roles. It felt like an acting exercise, and it was fascinating.
ENF-K12
One of my favourite jobs was working at a theatre festival bar. The environment was super relaxed, and the vibes were great.
ENF-Q2666
I used to edit personal statements and academic essays for students in China. It was mentally quite tiring and not particularly fun, but after doing it for a while, I realised that understanding how to tell a compelling story was actually a useful skill.
ENF-V11
One final piece of advice: Never work in a restaurant.
ENF-X004
Yeah, almost everyone who has done it regrets it.
ENF-W47
It feels like a rite of passage—one of those tough jobs everyone goes through at some point.
Do You See Yourself Continuing to Make Work in the UK? (78:10)
Ming Strike – Howl Yuan
For now, the UK is my base, but I won’t necessarily stay forever.
Ming Strike – Mengting
I don’t want to retire here. Actually, London isn’t representative of the whole UK—there are so many different places. Maybe moving to a seaside town or a rural village and renting a studio space could be a different kind of experience, something worth exploring.
Ming Strike – Zhiyue
So, to summarise: we might leave London, explore other parts of the UK, and then decide whether to stay or go.
Ming Strike – Mengting
Yeah, I think I just don’t want to stay in London long-term.
Hidden Keileon – Bonnie
For us, yes—we’ll continue to create in the UK. All our members have already immigrated here, and we’ve all lived in the UK for over five years. We’ve built our social circles, relationships, and lives here, and we also care about the issues facing this society. Through our work, we want to give a voice to marginalized communities, so for now, we will continue to create in the UK.
ENF-V11
I just want to escape the UK during winter.
ENF-W47
Wherever there’s food, that’s where I’ll go.
ENF-X004
I’ll stay in the UK for the foreseeable future.
ENF-K12
I want to spend more time in Europe, especially to experience more contemporary theatre. But the UK will remain my backup plan.
ENF-Q2666
I’ve gotten used to the UK’s creative industry structure, and I’ve built up a lot of experience here, so I don’t want to leave just yet.
Gourd Canteen – Weitian
Looking back, we founded Gourd Canteen because we felt that there was a need for this kind of grassroots initiative. But this personal motivation is not something that can last forever. At the beginning, our motivation was very strong—we wanted to bring people together and create opportunities. But now, we are also re-evaluating our original intentions and thinking about how we want to continue moving forward.
What Has Kept Your organisations Going Until Now? (81:35)
Ming Strike – Zhiyue
I don’t really know.
For me, Ming Strike is an emotional anchor. People often say you shouldn’t mix personal relationships with work, but for us, as a passion-driven collective, it’s all about love. This is my way of staying connected with people I care about.
Ming Strike – Mengting
Even if we stop producing episodes for a while, we’ll still be close friends in our daily lives.
LuckyPot-Julia
At the beginning, I assumed that everyone was fundamentally alone. Loneliness is inevitable. I didn’t particularly expect to find energy and knowledge from the community, but I did. It turns out that when you’re part of a group, problems feel more manageable.
Any Advice for People Looking to Join a Group? (83:28)
ENF-W47
First of all, not everyone needs to join a group.
If you do want to, start by attending different workshops and getting to know artists with similar interests. One of the most important things is to invite people to see your work. When you reach out and say, “Hey, come check this out!”—you create an opportunity for exchange and connection.
Watching performances is also a great way to meet people—if you really like a show, you can talk to the creators after the performance and express your appreciation. This often leads to further conversations and potential collaborations. Since many of us don’t have funding when we start out, you can also consider offering skill exchanges instead of monetary compensation.
ENF-Q2666
If you have a specific skill, you could host a free workshop to share what you know. This will show people your expertise and make them more likely to work with you in the future.
Hidden Keileon – Sandra
Most artists experience loneliness at some point—that’s part of the creative journey. As artists, our job is to see things that others don’t. But if you trust your artistic vision, you will eventually attract like-minded people, like magnets.
Rather than forcing a network, I’d suggest exploring different experiences—reading a variety of books, watching performances in different formats, attending exhibitions, experimenting with cross-disciplinary collaborations, and organising events to exchange with your peers.
Gourd Canteen – Cindy
My advice? Just start your own organisation.
Gourd Canteen – Weitian
Now the sky has cleared up outside.
Credits and Acknowledgments
This project was made possible with the collaboration with Ensemble Not Found. Special thanks to all the contributors and collaborators who shared their voices and experiences: Gourd Canteen, Hidden Keileon and LuckyPot.
本期节目与由Ensemble Not Found主持的「后台观众」播客共同策划，并得到了葫芦食堂、Hidden Keileon、幸运锅等英国草根艺术团体的支持。
This material was created originally in Mandarin and Cantonese and it has been translated into English and made a free-to-access shared resource with the support of performingborders, Arts Council England, and Necessity Fund.
About the voices behind this episode:
Ming Strike 小明拆台 is an East and Southeast Asian art collective based in the UK and the voices behind the bilingual (Mandarin/English) eponymous podcast 小明拆台 Ming Strike. The independently produced podcast features interviews with transnational art workers and shares our reflections on current events in arts and culture.
我们是几位住在英国搞表演和艺术的小明，喝咖啡，聊是非，性本善，拆人台。我们独立制作的播客《小明拆台 Ming Strike》邀请活跃在跨国艺术圈的创作者、策展人、研究者等一起聊天，我们关注世界各地的表演与艺术动态，讨论亚洲艺术家的创作与观察。
Ensemble Not Found (ENF) is a theatre collective of five interdisciplinary first-generation ESEA artists. With our non-hierarchical, devising led approach, we unite our diverse strength to create bold, sensual and genuine original performances that speak to what’s urgent to us. We believe that by unraveling the personal, we’re pressing for the universal. In our journey to find the right form and voice, we blend elements, break rules and defy genres.
Ensemble Not Found是一个是生活在伦敦的华人戏剧团体。我们是一群永远好奇探索着未被发现的视角，未被讨论的话题和未被展示的艺术的未被定义的人。我们有一个播客【后台观众】，每一次的茶话会，与你分享年轻一代戏剧从业者最新鲜的审美和思考，以及一些乱七八糟的不可预设。
Gourd Canteen is an initiative exploring and engaging the Sinophone art community in the UK and beyond. In bringing together the community’s diverse stories, we discuss its identities, connections, internal tensions, and its interactions with other social and ethnic groups. We seek to catalyse conversations about and promote understanding of entanglements between art, politics, ethnicity, and migration in the lives of the Sinophone community. Through a wide-ranging suite of events programmed for and with emerging artists, art professionals, students, and the interested public, Gourd Canteen builts an evolving site for active exchanges and critical discussions.
葫芦食堂 是一个关注在英华人艺术从业者的组织。我们探索华人在英国的艺术世界里穿梭与生长的轨迹——他们的生活，他们与本地文化环境的互动，他们各不相同的身份， 他们相互的联结与矛盾，他们与其他少数族裔社群的关系。 我们期盼以坦诚的交流跨越学科、语言、文化、政治等障碍， 促成一场不断衍变、不断更新的讨论。
Hidden Keileon is a collective of six multidisciplinary artists, strategists, thinkers, researchers and curators focused on making change. Registered as a Community Interest Company (CIC), they collaborate with people from migrant and queer communities like themselves to imagine futures with justice and freedom for all. They dream up and lead community building and life-affirming cultural projects across the UK and beyond.
Hidden Keileon / 麒麟是一支六人多元藝術文化團隊，主要與移民和酷兒社群合作，組織跨領域文化項目，共同想像和建設充滿正義和自由的多樣未來。
LuckyPot was named in a way how Chinese takeaway and hotpot restaurants in English-speaking regions might be named. In East Asian cultures, sharing food means communication and intimacy. The kitchen and dinner table present a smallest unit of collectivist practice. Chinese takeaway, as a kind of fusion food, couples the cross-cultural identities of the creative individuals who live here temporarily. LuckyPot is a mobile and decentralised art group dedicated to onsite creation and practice in a cross-cultural context.
幸运锅来自英语地区中餐外卖、火锅的常见命名。共享食物在东亚文化中意味着交流与亲密，中餐外卖作为一种融合食物，则耦合了暂居此处的创作个体们的跨文化身份。幸运锅 LuckyPot 作为一个流动的去中心艺术小组，致力于在跨文化场域中进行在地的创作与实践。
