THE founders of a theatre group that staged East is East and Snookered won the top award at the fourth Eastern Eye Arts, Culture & Theatre Awards (ACTAs) last Friday (21).
Sudha Bhuchar and Kristine Landon-Smith set up Tamasha in 1989 with the aim of staging contemporary theatre.
From humble beginnings, they went on to become one of the most accomplished names which put on plays like A Tainted Dawn, The Trouble with Asian Men and Made in India.
The collaborators were both honoured with the top honour – the Eastern Eye Award for Outstanding Contribution to the Arts – at a glittering event in central London.
They were among 20 winners on the night, as the awards celebrated the contribution of British Asians to the arts and creative industries.
Now in their fourth year, the annual ACTAs are held by the Asian Media Group, publishers of Eastern Eye and Garavi Gujarat weeklies.
Huge talent from an array of categories in the arts, media and creative industries was recognised at the awards.
Other winners included Naughty Boy, Ash Tandon and Indhu Rubasingham.
Amit Roy, Eastern Eye’s editor-at-large and chairman of the ACTA judging panel said: “It is heartening to see the depth of creative talent in the south Asian community and we are delighted that this year’s winners showcase some of the best of what our community has to offer.
“Diversity remains a vital issue in the creative arts and the British Asian artistic fraternity continues to make a huge contribution to the wealth – financial and spiritual – generated by the UK’s creative industries.”
Chart-topping producer Naughty Boy won the Eastern Eye award for Contemporary Music for Bungee Jumping.
Tandon, who featured in one of the most talked about television drama series last year, walked away with the award for Best Actor – TV & Drama, for his role in the BBC hit Bodyguard.
For her work in adapting Zadie Smith’s acclaimed White Teeth at the refurnished Kiln Theatre in north London, Rubasingham picked up the Best Director prize.
This year’s Editor’s Special award was presented to the Aga Khan Centre in King’s Cross, London.
Dedicated to the “spread of education, knowledge and exchange of cultural ideas”, the institution’s stated mission is to foster better understanding in a multi-faith world.
The centre houses the Aga Khan Foundation, the Aga Khan University and the Institute for Ismaili Studies which promotes a better understanding of Islam and Islamic culture.
Among other winners were Nitin Ganatra, crowned Best Actor for his part in the theatre production, End Of The Pier.
Actress Shobna Gulati, familiar to viewers of Coronation Street, was named Best Actress for her role in an all-women production of Richard II at the Globe theatre in London.
The Eastern Eye award for Film, TV & Drama, Best Actress was presented to Priyanga Burford for Press, BBC One’s take on the goings-on in a national press.
Tartuffe by the Royal Shakespeare Company picked up the Best Production.
The award for Arts went to the Singh Twins for their Rule Britannia: Legacies of Exchange triptych. Virago, themed on the practice of female foeticide, won Sonia Sabri the prize for Dance.
Author Preti Taneja, whose We That Are Young revisited King Lear in a business family in India, won her the Eastern Eye award for Literature.
The winner of the Eastern Eye award for Photography was Suki Dhanda for Race, Place and Diversity by the Seaside as she captured the diversity of Plymouth in a post-Brexit world.
One winner chosen by members of the public was the People’s Choice award; this year’s winner was Mandip Gill for her role as Yasmin Khan in the 2018 series of Doctor Who. Vinay Patel won the Best Scriptwriter prize for his work on that popular BBC series.
Supported by Arts Council England, the Emerging Artist award went to Antonio Aakeel for his work in Eaten by Lions.
Sanju Sahai won the award for Traditional Music while Paul Chowdhry won the Comedy prize for Live Innit.
Rana Mitter was judged Best Presenter for Chinese Characters, which was broadcast on BBC Radio 4 and told the story of China through 20 lives in different time arcs.
The Community Engagement award was presented to The Queen’s Gallery for Splendours of the Subcontinent, curated by Emily Hannam and Kajal Meghani.
Nihal Arthanayake compered the event at the May Fair Hotel.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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