I have always believed in the transformative power of storytelling. Theatre is not just entertainment—it is a space for resistance, activism, dialogue, reimagination, education and connection. It is a space in which we can experiment and where we are allowed to ‘fail’. Yet, the structures we operate within are often rigid, hierarchical and steeped in colonial legacies.
Decision-making remains concentrated in the hands of a narrow demographic, reinforcing elitism and limiting access. If we are serious about decolonising the arts, we must rethink governance itself – we need to shift power, inviting communities and artists into decision-making and embracing new models of collaboration that centre those who have been historically excluded.
The funding crisis has only deepened these challenges. Cuts to arts education and local authority budgets have exacerbated inequities, pushing theatre further into risk-averse, profit-driven models that prioritise commercial viability over cultural relevance. But when we talk about art being purposeful, we must look to those who have taken a stand.
The White Kite Collective and Freedom Theatre in Jenin have both demonstrated extraordinary courage in standing up for artists facing assassination, genocide and censorship. These organisations mobilised communities, ensuring that voices from the frontlines were heard internationally. Meanwhile, the cultural establishment in the UK hesitated, driven by fear rather than conviction and often at great financial loss. The cancellation of Manchester Royal Exchange’s ‘A Midsummer Night’s Dream’, for including ‘free Palestine’ and ‘trans-rights’ in their artistic expression is a stark example of how institutions, in their reluctance to engage with politically charged work, can betray the very purpose of art itself. But art is not meant to remain safe and comfortable. It is meant to be bold, urgent, and fearless.
If we are to create a theatre ecology that is truly reflective of the world we live in, we must radically rethink how decisions are made. We cannot rely on outdated models that centralise power among a privileged few. Instead, we must embed community voices at every level, from boardrooms to programming decisions.
This shift demands courage. It requires open minds, open hearts, and a commitment to dismantling systems that no longer serve us.
As an artistic leader, I have often navigated these barriers—challenging perceptions, negotiating cultural specificity and advocating for the inclusion of marginalised voices. It is a constant process of learning and unlearning, of listening and acting with intent. That commitment is what led Tamasha to launch SHIFT—an intervention designed to tackle these systemic challenges head-on. SHIFT is a call to collective action, a framework for decolonising commissioning, programming, and producing processes in UK theatre. Through partnerships with regional theatres SHIFT is fostering an anti-racist, socially engaged practice that amplifies the voices Global Majority artists, challenges institutional racism and reimagines how stories are developed and shared.
It is civic responsibility in action, together with our partners – Bristol Old Vic, Belgrade Coventry and Beyond Face will work together in collaboration to deep dive into artistic and operational process, taking a community and artist centred approach. Challenging ourselves to build a sector that truly serves its communities in the most equitable way, and celebrates storytelling through a Global lens.
Theatre can (and to my mind) is more than an industry; it’s a movement. In a time of increasing social fragmentation, art has the power to heal, to provoke and to unite. But this can only happen if we centre our work on values rather than on market forces. Co-creation and collaboration are not just ideals; they are the foundations of meaningful change. They require us to share power, to be generous with our platforms and to recognise the value in every story.
Throughout my career, I have witnessed how transformative theatre can be when it reflects the complexity of our society. The work ahead is not easy, but it is necessary. By decolonising our structures, our own minds and embracing new ways of working, we can build a theatre landscape that is robust, inclusive, and deeply connected to the communities it serves. This is not just an artistic challenge—it is a civic one. It is an opportunity to lead by example, to show how the arts can pave the way for a more equitable society that celebrates its multiculturalism and intersectionality.
The responsibility is both collective and individual. We must all raise our awareness, educate ourselves, and embrace the power of connection. Being intentional co-creators is a daily practice—one that requires us to work with love, with purpose, and with a deep commitment to human connection. When we see each other fully, when we centre justice in our work, we are not just making art. We are shaping the future.
Pooja Ghai – Artistic Director/co-CEO Tamasha and freelance director.