Joe Sidek is the definition of polyvalent. From arts industry advisory speeches on both global and local scales, to on-the-ground workshops with creatives, what threads his career is a passion and a talent for connecting with people. A proud Penangite, Joe spearheaded the annual George Town Festival from 2010 until 2018, overseeing a diverse blend of genres and mediums of art, set against the heritage buildings and colourful streets of the island. The festival brought in internationally acclaimed acts, such as Sidi Larbi Cherkaoui’s Sutra, and also platformed the underrated crafts of local artisans. Today, it has blossomed into one of Asia’s leading arts and culture festivals.

Consequently, the state has undergone a tangible cultural revolution, clear in the rise of tourism whenever the festival comes around, and in the way that Penang wears its creativity on its muralled walls. Other events were developed with him at the helm, including the Butterworth Fringe Festival and the Rainforest Fringe Festival, and he continues to break ground in arts-adjacent philanthropy.

Joe doesn’t want us to look at the West as a benchmark: “We forget that we predate them by thousands of years in arts and culture, writing, and astronomy. We should look back on who we are and reclaim the narrative of Asia. There’s nothing wrong with the West; they taught me too. But it’s time to reclaim our stories.”

His brilliant intuition is evident in his manner, and his words display a concurrent depth of thought and feeling that is fuelled by a love for his country. Joe’s impacts continue to reverberate, as does his belief that art is a conduit for connection.

You’ve been working on Hari Malaysia Market 2025, an art market that brings together Malaysian artisans and crafters in a celebration of local culture. What drew you to the event and what are you most excited about?  

I spent the past six months working with Think City and Straits City Seberang Perai on a programme called Levelling Up Seberang Perai, to help creatives get better income by learning to sell their work. This led to the market, which allows them to apply their skills in a practical setting. It boils down to making an impact and giving back to society.

You’ve worked in multiple fields outside of the arts, ranging from event management to running your family’s textile chemical factory business. How does this inform the way you approach festival management?

I was thrown into the family business when my father passed away. As much as I disliked that, it was one of the best jobs I’ve had. It teaches you to balance work and manage people. All disciplines teach you good things. We never know what we want, so just keep going forward. Things might change and I think change is healthy.

You’ve stated, “Somewhere in me is the teacher waiting to come out.” How do you feel about educating the next generation of Malaysians on the importance of the arts?

It’s hard. I keep telling people, we’ve lost touch with culture. We don’t have sufficient exposure or education in the arts. I’ve always felt that if you want to turn Penang into a creative hub, you have to expand the education hub. Then, you’d have the foundation for festivals. We’re more engrossed in temporary events than the industry as a whole; if you invest in a roadmap, the industry will grow.

What is the greatest challenge you’ve faced in trying to boost the local art scene, and how did you overcome it? 

Money. The state government and companies that provide funding use the word ‘sustainability’. You need to find why people should pay to be your partner or see your show. If no one’s paying, ask yourself: is it worth putting out?

What has been your proudest achievement from working with festivals and creatives over the years? 

There was a show for George Town Festival from India called Manganiyar Seduction, and we gave about 100 seats to the less fortunate. I was losing money at the time, so we put a collection box outside for donations. An eight-year-old boy took out RM1.50 and put it in the box. He said, “My teachers said you don’t have enough money.” You write to CEOs and big names, and they don’t even respond. I’ve realised that, sometimes, real moments can move me more than actors.

What’s a book or film that changed your life?

You can find the spiritual centre of life in Paolo Coelho’s The Alchemist. It’s a mix of faiths, with words like maktub, which implies faith and patience. It makes religion sound so easy and pure. For films, Raise the Red Lantern by director Zhang Yimou. In the film, the women’s lives revolve around the same guy, and are dominated by men, but the main male character is never onscreen. It’s about the subtle threat of patriarchy and female empowerment. I’ve watched it 10 times.

You’ve mentioned being a bit of a foodie. What’s a meal you can’t live without? 

I miss my mother’s food. She was the best cook, chef, cake maker, Malay kueh maker—everything. We take our mother’s cooking for granted until we don’t have it.

Photography by Norlman Lo