Support

Support CAAP

New Work Fund

Contemporary Asian Australian Performance’s New Work Fund will champion the development of new Asian Australian work by investing in exceptional artists creating bold and meaningful performance.

CAAP continues to provide platforms for creative gatherings and knowledge exchange through our initiatives and community events. We ask you to join us in building a community to develop exceptional new performance and help shape what’s on our stages for years to come.

The New Work Fund will bring supporters and artists together from the very beginning, helping new works grow and reach the audiences they deserve.

You can make a tax-deductible gift to The New Work Fund by credit card via our GiveNow page.

Donate by Credit Card

To donate via a direct deposit, so 100% of your gift goes directly to new work, please fill out the form below.

Donate by Bank Deposit

How to Donate

Donate by Credit Card

To donate by credit card, please use the GiveNow platform via the button above. GiveNow accepts donations from $5 to $100,000.

Donate by Credit Card

Donate by Bank Deposit

If you would prefer to make a direct bank transfer, please complete the form via the link below. Once the funds have been received, we will issue a tax receipt and update your supporter record.

Donate by Bank Deposit

Get in Touch

If you would prefer a direct bank transfer, to make a significant contribution towards a specific project or would like to find out more about more about our future projects, please don’t hesitate to get in touch with on admin [at] caap [dot] org [dot] au.

Partners

Contemporary Asian Australian Performance is supported by the NSW Government through Create NSW, and by the Australian Government through Creative Australia, its arts funding and advisory body.

The inaugural Playwriting residency and commission is supported by Constellation Creatives and the Malcolm Robertson Foundation

ABOUT BELOW THE NECK

Late at night in a rundown skatepark, Jett and Kai meet for an arrangement: Kai will get $500 if he allows Jett to beat him up for 5 minutes. With violence hanging over them, the two young men must decide whether they’ll go through with it, or if they can give each other something more. Below The Neck explores how men of colour connect to their bodies, to violence, and to each other.

“I am writing this play for the men of colour in my life, the people who raise me and taught me what it means to be a man, and, hopefully, for future generations , to redefine that meaning for themselves.”

ABOUT GOLDEN BLOOD 黄金血液

Two orphans find their own way into adulthood in this moving, high-octane, and often hilarious coming-of-age drama, set amongst the steamy, tropical backstreets of Singapore’s criminal underworld.

In a once-grand apartment, two estranged siblings – 14-year-old Girland 21-year-old Boy – are thrown back together after the unexpected death of their mother. The naive but headstrong Girl elects Boy as her legal guardian. The only problem is that Boy is a fledgling gangster. The audience watches rapt as this unconventional family grows up, gets entangled in a darkly glamorous world of crime and luxury, and comes to confront the ghosts of their past.

Past Seasons
Griffin Theatre Co (2022) *world premiere
Sydney Theatre Company (2024)
Melbourne Theatre Company (2024)

★★★★★ “Bringing with it a strong sense of self, pace, and culture… it’s a remarkable work.”
– Time Out

★★★★ “Effortlessly funny and wonderfully twisty”
– The Age

★★★★
– Cultural Binge

About Azadi

1947 is known to be a pivotal year in Indian history. It is the year that some may say India gains Azadi from the British Rule and is divided in two nations, one for the Hindu majority, i.e., India and one for the Muslim majority, i.e., Pakistan. It’s a violent affair. No one talks about it.

Qala, born in an Indian Hindu household is taught one thing: she cannot marry a Muslim man. Amir, born in a Pakistani Muslim household is taught the opposite: no Hindu women. Their fated love demands Qala to search for answers from her history where she meets her great-grandmother, Sarasvati, a survivor of Partition.

“I am writing this work for the people who belong to the future, especially the people of India and Pakistan. In many ways we are one and the same, but there are great barriers that stop us from realizing this. I want Azadi to be one story, among many, to be a space where those barriers are questioned and hopefully broken.”