National Trust
(Cultural Programming)
London, UK | Public Heritage Institution
At the National Trust, I led the design and delivery of cultural programming across historic sites in London, working at the intersection of heritage interpretation, public engagement, and institutional change.
My work focused on developing programme frameworks that expanded how heritage environments engage contemporary audiences, embedding participatory and artist-led approaches within one of Europe’s largest conservation organisations while advancing more inclusive relationships between communities, cultural heritage, and landscape.
HELIOS
London, UK
Helios formed a key component of my cultural programming work at the National Trust.
The project involved the London presentation of a large-scale international touring artwork across multiple Trust sites, including Downham (Lewisham) and Osterley Park & House.
Working within a multi-stakeholder framework, I coordinated the cross-site delivery of the installation, ensuring its integration within historically sensitive environments while aligning with internal operational, conservation, and visitor experience teams.
Alongside production delivery, I developed and implemented a locally embedded engagement framework designed to situate the artwork within surrounding communities. This included partnerships with schools, community organisations, and resident groups, and the development of participatory activity strands that expanded access to contemporary cultural programming within heritage settings.
The project contributed to the Trust’s wider strategic aims around cultural relevance, access, and the integration of contemporary artistic practice within historic spaces.
Flock Together
London, UK
As part of my cultural programming work at the National Trust, I initiated and developed a partnership with Flock Together, a London-based collective centred on birdwatching, environmental awareness, and community wellbeing among people of colour.
The collaboration focused on exploring relationships between marginalised communities and heritage landscapes, responding to longstanding structural barriers to access within both environmental and cultural sectors.
Working across institutional and community contexts, I designed a two-phase programme at Osterley Park and House. This included an immersive research visit enabling the collective to engage with the site environment, followed by the development of a public-facing creative response shaped by participants’ lived experiences of nature, belonging, and spatial memory.
Beyond a single programme intervention, the partnership represented a broader strategic approach to embedding community-led cultural practice within heritage settings. It contributed to evolving institutional thinking around access, ecological engagement, and the role of participatory artistic processes in re-imagining relationships between people, place, and environmental stewardship.
The Place Theatre
(Programme Leadership &
Theatre Producing)
UK and International | Arts Council England & Partner Funding
At The Place, I led the strategic production and delivery of nationally commissioned contemporary dance works, operating across funding development, international partnerships, and complex touring infrastructures.
My work centred on enabling large-scale artistic projects to transition from research and development into fully realised touring productions within highly accountable public funding frameworks.
Okan
UK
Italy
Served as lead producer for Ọkan, a nationally commissioned dance production co-produced by The Place and supported by Arts Council England.
A central aspect of my leadership was securing £80,000 in Arts Council England funding through independently developing and delivering the full application, including strategic framing, budget design, and institutional alignment. This funding enabled the project’s transition from early development into full production and touring.
I led the project across its complete lifecycle, from research and development through to international residency, premiere, and UK touring. This included assembling and managing a large interdisciplinary creative team, negotiating partnerships, overseeing complex budgets, and coordinating production delivery across multiple institutional contexts.
The work required navigating public funding compliance, stakeholder accountability, and operational complexity while maintaining artistic coherence and delivery standards.
Through strategic production leadership, Ọkan successfully evolved into a fully realised touring work, strengthening organisational partnerships and expanding the reach of contemporary dance within national and international networks.
South Korea
Belgium
Spain
Is This a dance?
Led the international touring phase of Is This A Dance?, a nationally commissioned production supported by The Place and Arts Council England.
I assumed responsibility at a critical stage of the project lifecycle, overseeing its transition into an international touring work. This included managing venue negotiations, contracting, touring logistics, and multi-currency budgets across European territories.
A key strategic achievement was establishing a partnership with the Korean National Dance Company, securing an international residency that enabled cross-cultural collaboration with local choreographers and community participants. This significantly expanded the project’s international network and institutional relationships.
I also secured major European festival presentations and led the multilingual adaptation of the production into Dutch and Catalan, overseeing translation processes, performer recording coordination, and safeguarding compliance across international contexts.
The work required advanced problem-solving within high-pressure touring environments, ensuring continuity of artistic delivery while navigating logistical and operational challenges.
Through strategic producing leadership, the project successfully extended its international reach and strengthened global partnerships within contemporary dance ecosystems.
Craft council
Participation & Young people
(Strategic Programme Leadership)
London, UK | Arts Council England
At Crafts Council, I led the strategic development and delivery of Young Craft Citizens, a national programme creating alternative pathways into the craft and creative industries for 16–30 year olds.
Operating within the UK’s national development agency for contemporary craft, the work focused on designing participatory programme infrastructures, embedding paid professional opportunities, and building leadership pathways for young people - particularly those impacted by structural inequality within the creative sector.
Programme Architecture
I developed and delivered a scalable programme model combining:
Paid placements and industry-facing commissions
Co-created public events and peer-led activity
Advisory structures enabling young people to influence institutional direction
Professional mentoring and sector navigation support
The programme operated not as outreach, but as a structural intervention addressing access, representation, and professional sustainability within contemporary craft ecosystems.
Institutional Impact
Through this work, Young Craft Citizens strengthened its position as a nationally recognised model for youth-led cultural participation within contemporary craft.
By integrating paid opportunity, advisory governance structures, and cross-sector collaboration, the programme moved beyond short-term engagement activity and contributed to longer-term institutional shifts around equity, representation, and professional access. It enabled young practitioners not only to participate in the sector, but to influence its direction through structured consultation, leadership development, and direct involvement in live cultural programming.
The programme also demonstrated how national cultural agencies can redistribute visibility, resource, and decision-making power to emerging practitioners, supporting a more sustainable and inclusive future for the craft ecosystem.
Strategic Partnerships &
Cross-Sector Alignment
A central component of the work involved forging partnerships across cultural, commercial, and civic sectors to expand opportunity and resource flow into the programme.
This included establishing a funding and programming relationship with TOAST Creative Residency, directing a percentage of on-demand sales to support Young Craft Citizens while embedding youth engagement within a national design platform.
I also initiated and delivered a cultural partnership with Get Living’s Lab E20, enabling Young Craft Citizens members to design and lead public events within a regenerative design programme, providing paid production experience within a high-profile urban cultural context.
Additional partnerships spanned higher education institutions, independent makers, local authorities, and industry stakeholders, positioning young participants within live professional networks.
Shubbak Festival | مهرجان شُبّاك
(Strategic artistic Producing & Delivery)
London, UK | Arts Council England, British Council, Qattan Foundation
At Shubbak Festival, I led the strategic production of artist-led and participatory commissions within an international platform dedicated to contemporary Arab artistic practice.
Working across a complex multi-stakeholder festival infrastructure, my role encompassed programme planning, artist collaboration, participant frameworks, safeguarding oversight, and exhibition delivery. The projects operated at the intersection of diasporic cultural memory, feminist practice, and contemporary political discourse, requiring both rigorous governance and sensitive relational facilitation.
Through this work, I contributed to strengthening models of socially engaged production within large-scale festival contexts, ensuring that artistic ambition and ethical accountability remained structurally aligned.
Every Act of Recognition Alters What
Survives, by Rand Abdul Jabbar
London, UK
Led the end-to-end delivery of a major participatory commission for Shubbak Festival, working in close collaboration with internationally exhibited Iraqi artist Rand Abdul Jabbar and a cohort of London-based Iraqi women.
Within a complex festival environment, I oversaw the full project lifecycle - from programme design and stakeholder coordination to participant recruitment, workshop facilitation, production logistics, and public presentation. I managed relationships across artist, participants, festival team, and venue partners, ensuring artistic integrity while safeguarding participant care within a diasporic and intergenerational context.
The project unfolded through a sustained workshop series exploring memory, migration, heritage, and collective identity. I structured an inclusive and critically informed creative process that supported participants to translate lived experience into material form, navigating sensitive narratives with cultural nuance and ethical attention.
The commission culminated in a large-scale installation at Chelsea Physic Garden, where the final sculptural work reinterpreted Assyrian iconography through a contemporary feminist lens, embedding collective authorship within a high-profile international festival setting.
This project demonstrated my capacity to bridge artistic ambition with socially engaged practice, creating space for underrepresented voices while delivering complex cultural production within institutional frameworks.
The Distant here
London, UK
Produced and delivered The Distant Here, a multi-site, three-week public art commission presented as part of Shubbak Festival, activating culturally significant locations across West London through a distributed walking exhibition model.
Working closely with writers Heba Hayek and Yara Hawari, I led the full realisation of the project from concept development to public presentation. This included commissioning coordination, contractual negotiations, and cross-border collaboration with contributors across Europe and the Middle East, alongside design development with typographer Farah Fayyad to translate literary text into large-scale public-facing works.
The project required complex multi-stakeholder management across commercial billboard operators, independent shop owners, venue partners, and local authorities. I negotiated advertising placements, secured permissions, coordinated installation logistics, and oversaw compliance within highly visible public urban environments. The result was a dispersed exhibition embedded within everyday city infrastructure — bus stops, shopfronts, and billboards — transforming commercial advertising space into sites of diasporic reflection and political memory.
Positioned as a bibliographic “treasure hunt”, the project invited audiences to navigate West London through literary fragments addressing displacement, migration, and collective resistance, re-situating Palestinian and Arab narratives within the fabric of the city. The commission received coverage in Frieze, amplifying its critical reception within international art discourse.
Through The Distant Here, I demonstrated advanced capability in large-scale public realm production, transnational artist liaison, urban site negotiation, and politically sensitive cultural programming — delivering a high-visibility intervention that bridged literature, design, and spatial strategy within a major international festival framework.