AN ANNUAL arts festival celebrating the “unique” links between the UK and south Asia returns to London next month.
The Alchemy Festival at the Southbank Centre will feature dance performances, comedy, DJs, music, food and film.
Rachel Harris, the creative producer at the Southbank Centre, told Eastern Eye that the festival is “brilliant” opportunity for audiences to realise how forward-thinking the artistic work is in south Asia.
“It is great for London to not be complacent that the West equates to contemporary and the East is very traditional,” she said.
“The festival is about contemporary work – although there are moments in the programme where we do have classical artists – but where something is exceptional or where it is rarely seen in this country, then it is important the festival invites that work.”
The four-day event will explore cultural links between Britain and south Asia, drawing in communities who perhaps are not given major profiles in the arts sector.
Highlights include performances from the Mercury Music Prize-winning composer and tabla player Talvin Singh; comedy from Muslim comic Tez Ilyas; music from India’s first Ska band The Ska Vengers and dance theatre piece The Troth, which tells the untold story of sacrifices made by Indian soldiers in the First World War.
Harris has worked on the festival, now in its ninth year, since its launch. She revealed the event aimed to provide platforms for Asian artists who may not have had the opportunity to showcase their work in the UK, and acknowledged the difficulties that British Asian artists may feel they have in terms of finding a place in the industry for their work.
However, she believed that Alchemy allowed individuals to share their talent and emphasised how important up-and-coming artists were to the festival.
“I’m sure if you were to speak to British Asian artists, they would say there is still a lack of opportunity,” Harris said. “This is why the festival invites people at the beginning of their careers as well as those who are world renowned. It is very important to give people opportunities all along the way.”
“We are also looking at celebrating the creative impact of British south Asian artists,” she added. “It is unique to hear how music, mainstream music, and popular culture has
been impacted by the second and third generation of south Asians.”
Harris said festival organisers wanted to achieve a balance so artists in all the countries in the subcontinent, such as India, Pakistan, Bangladesh, Sri Lanka and Afghanistan, have an
equal platform to showcase their talent.
In addition to the wide range of acts, three Southbank venues have been reopened this year to host some of the artists on the programme. The venues, originally constructed in
the 1960s, include the Queen Elizabeth Hall, The Hayward Gallery and the Purcell Room.
“It is definitely a special year for Alchemy,” Harris said.
In her role as creative producer, Harris revealed she had to ensure audiences from every age range had something to interest them. She also had to help “shape” the event, making sure she listened to the artists and gathered ideas from them.
There are a number of free events, including an interactive production of The Magic Fish, told through beat-boxing and dance, and a Bollywood dance workshop, open to all levels of experiences.
On the festival’s impact, Harris hoped it would show audiences how interconnected the world is.
“The world is smaller than we think – we are all interconnected, through politics and ideas and economics,” Harris said. “Alchemy is about breaking down barriers, allowing people to see things they may not have seen before, mixing audiences up and allowing people to connect.”
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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