International Cultural Exchange – APAP|NYC 2025

As our global reality becomes more fractured by political, economic, and environmental challenges, the arts remain one of the most profound tools we have for connection, empathy, and shared understanding. In the face of closed borders, visa restrictions, and rising costs, international cultural exchange is more essential—and more threatened—than ever. At the APAP|NYC 2025 session, “International Cultural Exchange,” global leaders, funders, and programmers came together to explore how we preserve, expand, and reimagine the power of global artistic dialogue. APAP is pleased to share the content of this important conversation through the article below and the session’s video recording, continuing its mission to equip the arts community with the necessary tools to engage in meaningful advocacy for the arts.

The Value—and Vulnerability—of Exchange

Moderator Alicia Adams, Vice President for International Programming and Dance at the Kennedy Center, opened the panel with a reminder that cultural exchange is not just about presenting foreign talent. It is about “bringing people together to stare down the problems of the world.”Yet, Adams acknowledged that international exchange has been especially fragile since the pandemic. Rising costs, budget cuts, and logistical hurdles like visa challenges have caused many organizations to turn inward. The panel set out to name these obstacles while offering examples of how the global arts community is continuing to push through them—together.

Models That Connect

Adrienne Petrillo, Senior Program Director of Regional Grants and International Exchange at the New England Foundation for the Arts (NEFA), shared insights from Center Stage, a pioneering State Department-supported program that brings contemporary artists from underrepresented countries to tour across the United States. Since 2012, Center Stage has hosted 47 ensembles from 17 countries including Pakistan, Armenia, and the Philippines—artists who not only perform, but immerse themselves in communities, attending local football games or sharing meals after shows.

However, Petrillo announced that 2025 would be the final year of the program as currently funded. “The budget hasn’t increased,” she explained, while touring costs have soared—hotels, flights, staff, and artist fees are no longer sustainable at the current scale. Still, she emphasized NEFA’s commitment to continue some form of international engagement in partnership with others: “We’re looking for the right set of resources and collaborators.”

Europe’s Collaborative Infrastructure

Liviu Jicman, President of the Romanian Cultural Institute and current head of EUNIC (European Union National Institutes for Culture) Global Network, described a powerful model of collaboration that operates through 140 cultural clusters worldwide. EUNIC supports not just one-off cultural exports, but co-creation, co-production, and partnerships that share resources and risk.

Jicman highlighted EUNIC’s Cluster Fund, which supports locally driven, globally networked projects involving European and local partners. In his view, the future of cultural exchange lies in shared authorship, not just representation. “It’s not about presenting a national artist and going home,” he said. “It’s about building something together.”

Fringe as Global Marketplace

Chris Snow, Head of Artist Services for the  Edinburgh Festival Fringe Society, oversees one of the world’s largest arts marketplaces—over 50,000 performances a year with work from more than 60 countries. The Fringe is not curated; instead, Snow’s team supports presenters, promoters, and artists in navigating its massive landscape.

While international participation remains strong, Snow noted that both artists and presenters are under financial pressure. Fewer can afford to attend for as long, so the Fringe has developed tools to help delegates maximize their visits, targeting the right shows and building deeper collaborations.

He also acknowledged a trend toward curated showcases within the open platform. Venues are taking fewer risks and leaning into programming that aligns with their known audiences. Despite this, Snow affirmed that freedom of expression and diverse voices remain central to the Fringe’s mission.

Several panelists noted thatcollaboration is not just ideal—it’s necessary. Touring is increasingly expensive and complicated. Risk-sharing—through co-productions, booking consortia, or cluster-based funding—is a strategy that can reduce individual burdens while expanding impact.

Snow and Petrillo both emphasized thatrisk-sharing must go beyond money. Sharing knowledge, expectations, and visa navigation tools is equally vital. “There are people who know how to do this,” Petrillo said. “If you rule it out because it’s hard, we’re doing ourselves a disservice.”

The conversation turned toclimate change, especially after recent disasters impacted colleagues’ ability to attend the conference. The panel agreed that the arts must not only acknowledge climate challenges, but also offer solutions.

Adams shared that the Kennedy Center has launched a 10-year initiative bringing artists and scientists together around environmental issues. Surprisingly, scientists began approaching artists, recognizing the arts’ unique ability to communicate urgency and mobilize emotion. “Art reaches people in a way no white paper or lecture ever could,” Adams reflected.

Snow added that in Europe, there’s growing attention to sustainable touring practices, like mapping out regional circuits and maximizing impact per trip.

Ultimately, the panel affirmed that cultural exchange is not a luxury. It is a necessity—especially as nationalism, war, and climate crises fracture societies. From Jerusalem youth choirs to Moroccan punk bands, artists allow us to see and be seen, beyond headlines and borders.

“Art lets us empathize. It gives us perspective,” Petrillo said. “It’s not about representing a country. It’s about being human together.”

The panel closed with hope—hope that amidst difficulty, the global arts community can remain resilient, creative, and committed to exchange. As audience member Claudia Norman said, “We fight in a very elegant way—by producing festivals, by creating beauty, by showing up.”

Main image: International Cultural Exchange (Photo by Adam Kissick APAP)