Chuntian Hu on bringing art to London's waterways
We sit down with the creative force behind Canal Dream Art Festival
August 19, 2024
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
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The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
What inspired you to create the Canal Dream Art Festival (CDAF), and how did your experience living on a narrowboat influence the festival’s concept?
The CDAF originated from my graduation project, Canal Dream (CD), at the Royal College of Art in 2021, shaped by the post-pandemic need for social reconnection. At that time, the creative industry, especially music and performing arts, was deeply affected by the pandemic, leaving people isolated and in need of reconnection. Three key insights influenced the direction of CD: First is Arts Prescribing, which links individuals to local art and cultural activities, promoting well-being through creative engagement. Second is Green Prescribing, which connects people to nature-based activities. Third is Site-Specific Art and Performance, where artworks and performances are created for and staged within a specific location, like the canal, adding depth to the engagement by drawing on the physical and historical context of the site. CD’s concept emerged from the question: How might we create a range of arts-in-nature services on the canal, blending green prescribing, arts prescribing, and site-specific arts to create opportunities for community creative practice, well-being, and canal regeneration?
From there, I began organising events along Regent's Canal, starting small and gradually expanding. The network of creative and canal communities evolved over time, with activities ranging from a simple paper boat story workshop to a multi-arts festival with a "dream fleet." Throughout this journey, I have drawn inspiration from several advisors. Judah Armani, the founder of Inhouse Record, inspired me by demonstrating how music can create social impact. Dr. Qian Sun guided me in social innovation, policy, and community engagement. Also case studies like the Totally Thames Festival, Brighton Festival, and London Design Festival helped shape the growth and vision of the Canal Dream Art Festival.
Then I became a boater. Living on the waterways brought me much closer to nature and deepened my understanding of the canal as a vital link between the natural world and human life. On the boat, I was constantly aware of the shifting water, changing weather, and the cycles of the seasons, along with the flourishing plants and animals that make up the fragile canal ecosystem. This lifestyle demands a heightened awareness of resources like water, energy, and waste management, further developing my focus on sustainability and environmental consciousness. It was this unique experience as a boater over the past year that inspired me to centre this year’s festival around reflections on living so closely connected to water. The festival’s site-specific art and performances not only highlight the beauty of the canal but also remind us of the vulnerability of these waterways in the face of climate change.
The CDAF integrates art with environmental activism. Why do you believe that art is an effective medium for raising awareness about the climate emergency?
Art has a unique ability to connect with people on an emotional and instinctive level, making it a powerful medium for raising awareness about the climate emergency. Unlike data or reports, art transforms complex environmental issues into something personal and relatable. It inspires reflection, sparks conversation, and fosters empathy, helping individuals grasp the urgency of the climate crisis in a new and profound way.
When art takes place in natural settings, especially on water, like at CDAF, this connection deepens. Water is a symbol of life and one of the most visibly impacted areas of climate change. Canals, as both human-made waterways and industrial heritage sites, carry a historical and cultural significance while also serving as critical parts of the ecosystem.
Furthermore, CDAF 2024 centres its exhibitions and events around themes of environmental protection and waterways. Artists use metaphors of water and nature to directly address issues like climate change, pollution, and ecology, making art a catalyst for raising environmental awareness.
Could you tell us more about the process of curating the exhibitions and performances for the festival? How did you select the artists and the themes they explored?
My background as a service designer played a significant role in organising a large-scale event, allowing me to focus not just on the exhibitions but also on coordinating the complex network of stakeholders. I applied many service design tools to manage the festival, including the Double Diamond model: Discover, Define, Develop, and Deliver. This model helped guide the entire festival process.
During Discover, I created the Festival Brief, identified key stakeholders, and built partnerships while assembling our core teams for curation, marketing, and filming.
During Define, we finalised the essential aspects of the festival, such as the exhibitions, calendar, venues, participating artists, objectives, and strategies.
In the Develop phase, we meticulously handled logistics, coordinated venues, finalised exhibitions, and created promotional materials, ensuring that every layer was organised and prepared.
Finally, in the Deliver phase, all the moving parts came together across multiple venues, with careful coordination to ensure everything ran smoothly.
When selecting artists and curating the works, we followed several key principles:
Diverse Art Forms: We embraced a wide range of artistic expressions—visual arts, performances, music, and workshops—centred around themes of climate, ecology, and water.
Inclusion and Diversity: We prioritised connecting creators from diverse backgrounds, especially supporting marginalised artists, including those with disabilities.
Emerging Artists: We focused on promoting emerging talents, giving them a platform to gain exposure and engage with the broader art community.
Socially Engaged Art: We sought artworks that encouraged public participation, fostering direct interaction with the community.
Site-Specific Art: We emphasised art that resonated with the unique characteristics of the waterways, enhancing the relationship between the artworks and their surroundings.
This approach allowed us to create a festival that was not only visually and intellectually engaging but also deeply connected to its environment and community.
The festival took place across five boats and a canal-side venue. What were some of the unique challenges and rewards of hosting an arts festival on water?
Hosting an arts festival on water presents numerous challenges. Navigational planning, securing moorings, and coordinating boat movements are often unpredictable. Each boat varies significantly in terms of size, space layout, facilities, energy sources, and even insurance requirements. Additionally, the limitations of using boats and the canal as event spaces are considerable—space constraints, safety concerns, and thorough risk assessments are crucial. Boats are also inherently unstable and fragile, prone to potential issues with power, water, or engines. Weather is another major factor, especially for events held on the boat roofs, as we experienced last year during the London Design Festival when heavy rain impacted our "Late Night" event.
However, the long-term rewards are invaluable. The unique setting of hosting a festival on water offers an experience unlike traditional exhibitions. The canal and boats create a poetic, historic backdrop that enhances the atmosphere, allowing audiences to interact with the art in completely new ways. It also fosters a sense of community and network-building. The festival brings together a diverse mix of people who wouldn't normally cross paths—emerging creative communities, the longstanding canal community, and local institutions from environmental charities to cultural organisations and local businesses. This has helped us build a cross-sector, waterway-based innovation network.
On a personal level, this journey has been deeply rewarding. As someone far from my homeland, Canal Dream has become a way for me to create a new sense of "home" in a foreign place. Through the support and trust of the community, I feel like we are all collectively building and dreaming together, which has brought me a lot of emotional fulfilment.
One of the highlights of the festival was the Floating Garden by Global Generation. How did the collaboration with this environmental education charity come about, and what message do you hope it conveyed to visitors?
This is our third collaboration with Global Generation. Last year, they were a programme partner for both the inaugural CDAF and the London Design Festival. This year, our partnership has become even more extensive and integrated. First, in terms of venues and facilities, both their Floating Garden and Story Garden served as key event locations. Second, Global Generation brought their "Voice of the Water" exhibition to the festival. Over the past two years, they have invited the local community to reflect on water, drawing inspiration from two local waterways—the hidden River Fleet and the man-made Regent's Canal. Third, their young generators also participated in our opening ceremony as "Dream Navigators."
We truly value our collaboration with Global Generation. Global Generation is a well-known environmental education organisation that has been active locally for over 20 years. Through their involvement, we hope to show the public that Canal Dream is not just about culture and art, but also about nature and ecology. Our dream-makers include not only emerging artists but also local children and young people.
Given your background and journey from China to the UK during the pandemic, how has your cultural perspective shaped the vision and execution of the CDAF?
Yes, my cultural background has greatly influenced the development of this project. I come from Qingzhou, a historic city in China. Throughout different historical periods in ancient China, there was a long-standing tradition of water-based cultural and artistic activities, which inspired me to incorporate these elements into the CDAF. For instance, during the Ming dynasty, Painting-and-Calligraphy Boats served as essential venues for artistic activities on water, highlighting the unique charm of boats as cultural and artistic spaces—similar to the floating art exhibitions in CDAF. Additionally, the royal boats of the Qing dynasty were not only used for imperial parades but also hosted artistic performances, embodying a sense of ceremony on water that we reflect in the music and performance segments of CDAF.
Reviving the past, inspiring the future, CDAF draws upon ancient waterways and traditions to create a unique stage for contemporary artistic practices and social interactions.
The festival featured a diverse mix of artists, many of whom are part of the canal community. How important is it to you to include local artists and the canal community in your projects, and why?
Yes, this festival included a dedicated exhibition for boaters titled "Waterborne: Boater Art." Since becoming a boater, I’ve realised that there are many creative individuals within this community—painters, musicians, poets, designers, and more. This inspired me to create an exhibition specifically for this group. Paddy, the co-founder of the Word on the Water, and I collaborated to conceive the exhibition's title and initial concept, while my friend Yobe Wei did the curation together. I hope to develop "Waterborne" into a series of exhibitions that showcase more boater artists’ work.
The canal artist community is crucial to our projects because, as a Community Interest Company (CIC), Canal Dream has defined its mission to serve both the canal and creative communities from the very beginning. Boater artists sit at the intersection of these two communities. Their works reflect how the waterways influence their creativity and show how their artistic vision enhances the character of the canals. Moreover, boater artists play a vital role in infusing the community with energy and a distinct sense of place. Their work highlights the connection to the waterways and cultural heritage, helping to shape community identity, foster belonging, and redefine public spaces. In this way, they are not just artists but also guardians and transmitters of local culture.
Looking back on the festival, what were some of the most memorable moments for you, and how do you measure the festival’s success in terms of impact on the community?
Looking back on the festival, two magical moments stand out for me: The first was during Dream Night at The Walker City, when Charles Lambert’s band performed an experimental electronic piece. As the music flowed, projections of canal landscapes captured by Anna Kroeger danced across the swaying curtains, caught in the warm summer breeze. The juxtaposition of old and new, weighty and light, created an unexpected yet harmonious atmosphere. In that moment, it felt as though the canal had awakened, and we were fully immersed in its energy.
The second memorable moment was at the festival’s closing event, the Awakening Party, held at The Story Garden for our partners, team, and volunteers. As the sun set, we gathered in the midst of the Meanwhile Garden, surrounded by nature. Two musicians from China played—a hauntingly beautiful pipa melody and a soft, nostalgic tune from Jiangnan. Birds soared above us, and I felt transported to another realm, as the fusion of familiar and foreign, past and present, created a truly magical experience.
We measure the success of the festival by looking at community engagement, partnerships, and the festival's cultural and environmental impact. We track how many local residents, businesses, and organisations participate, as well as the diversity of attendees. The strength of partnerships and opportunities created for emerging and marginalised artists are also key indicators. We assess how well the festival raises environmental awareness, inspires action, and generates media coverage.
You’ve mentioned that water encourages us to slow down and focus on what truly matters. How do you think this idea of “slowing down” can influence public attitudes towards environmental conservation?
Water has a unique power to slow us down and help us reflect on what truly matters in life. When we take the time to pause, we become more attuned to nature and can form a deeper connection with our surroundings. This slower pace allows people to appreciate the beauty and fragility of the natural world, which in turn fosters a sense of responsibility towards environmental conservation.
By slowing down, we become more aware of the complexity and interdependence of the ecosystems we live in. Instead of focusing solely on immediate needs or short-term gains, we begin to consider the long-term balance and sustainability of our actions. This shift in mindset can lead to a greater appreciation for natural resources and a deeper understanding of why environmental protection is so crucial. For me, the experience of slowing down, especially when living on water, can inspire a respect for nature and encourage the public to adopt more sustainable practices.
What are your plans for the future of the CDAF? Are there any new ideas or themes you are excited to explore in upcoming editions?
Over the next five years, my vision is to transform the Canal Dream Art Festival into a dynamic, linear celebration that stretches across London’s canals and rivers. It won’t be limited to Kings Cross but will extend throughout the canal network, with different boats hosting a wide range of arts programmes. Key hubs like Kings Cross, Paddington, and Hackney Wick will anchor the festival, bringing together the boating community to provide platforms for emerging artists, while residents living along the canals can explore art and nature right on their doorstep. Our goal is to revitalise these once-forgotten industrial assets into vibrant creative spaces, through collaboration with various sectors.
Partnership is at the heart of making this vision a reality. Over the past two years, we’ve built a strong network in Kings Cross, and more recently, I’ve been focusing on expanding collaborations with cultural and arts organisations around Little Venice and Paddington. The progress has been even smoother than anticipated, with enthusiastic responses from the Floating Classroom, the Puppet Theatre Barge, and the Paddington Development Trust. An exciting development is our recent connection with Canal & River Trust's Wellbeing, Youth & Arts department. Collaborating with CRT, the organisation responsible for managing the UK's canal and river system, will be a significant step forward for us.
