In the intro article to the Colombia series, Carl(os) Roa, a Latinx artist from Philadelphia who made art in Bogotá last year, poses the question “What are the ways in which Colombia’s arts communities are just as fragmented as those in the United States” and shares how uplifting it has been to watch artists in the Bogotanx theatre community adapt to new realities brought on by the pandemic.

Amelia Parenteau examines the essential nature of both artists and medical workers—who heal body and soul, mind and spirit—and shares how some have navigated their career transitions between the two fields.

verity healey recaps the multidisciplinary arts festival Kunstfest, which took place in Weimar, Germany in late August and early September this year and tackled issues such as immigration, identity, COVID-19, and the environment.

Jennifer Rodrigo sits down in conversation with Sabera Shaik, the artistic director of Malaysia’s Masakini Theatre Company, about the country’s fragmented arts community, shadow theatre, and more.

Janice Rabian shares the discoveries she made during her summer research project about the effects of the COVID-19 pandemic on the theatre field and how leaders are pivoting after the murder of George Floyd.

Sayda Trujillo talks about white supremacy’s prevalence in clown pedagogy and shares how the invincible spirit of the clown has shaped her, “seeping through every tiny crack possible to make itself present to speak, to laugh, to sing, to bounce, to witness, and to encounter.”

L.M. Bogad shares the story of the beginnings of Clandestine Insurgent Rebel Clown Army, several tenets of “clownfrontational” tactics, examples of rebel clowning in a different contexts, and more.