As part of our commitment to supporting and promoting artistic growth in Ireland, the Baboró Artist Spotlight profiles artists in the sector while also diversifying the conversation around artistic practice, challenges, and opportunities for development. This month we are chatting to Polish theatre practitioner, cultural facilitator and arts educator Justyna Cwojdzińska.
Justyna Cwojdzińska is the Founder and Artistic Director of the Polish Arts Festival (est. 2007), which she co-leads with Aleksandra Rosiak, shaping it into a vibrant celebration of quality, uniqueness and contemporary Polish culture within Ireland’s diverse arts scene.
Through participatory projects, particularly mask work with children, Justyna's projects open new pathways to understanding the transformative power of art, creating spaces where imagination becomes a bridge between cultures, abilities and lived experiences.
Justyna's practice centres on bilingual and non-verbal theatre, blending mask, storytelling and physical performance to create inclusive, sensory experiences for children and families. Deeply committed to intercultural dialogue, she collaborates with both professional artists and local communities to create accessible theatre that fosters creativity, belonging, and self-esteem.
Over the course of her work, Justyna has received numerous bursaries, including the Young People and Children’s Education (YPCE) Award from the Arts Council of Ireland, and was selected for the LEAP Programme led by Baboró International Festival for Children and as a SPARK Arts Artist (UK), while also undertaken professional workshops with Branar, further strengthening her practice in theatre for young audiences.
What does it look like when you’re making creative work?
When I am making creative work, it begins with listening to bodies, to space and to the people in the room. My process is deeply physical and ensemble-based, shaped by my training with Song of the Goat Theatre and practitioners connected to Jerzy Grotowski’s Institute, such as Yola Wesołowska, having a great impact. I often start without a script, allowing movement, rhythm, voice and image to lead the way.
I work intuitively and collaboratively, especially when creating for children and young audiences. Play, imagination and sensory exploration are the foundation of the work. Masks, objects, gesture, bilingual or non-verbal storytelling all become tools to communicate beyond language, allowing each participant or audience member to find their own way in.
Inclusivity is central to my process. Whether I am working with professional performers, children, or participants with additional needs, I aim to create a space where everyone’s unique potential is valued. Rather than imposing a fixed artistic form, I shape the work around the people present while responding to their energy, curiosity and ways of expressing themselves.
What do you do when you’re feeling stuck creatively?
When I feel stuck, I return to the body and to play. I move, sing and improvise often without a clear goal. Working with children has taught me that creativity doesn’t disappear, it hides behind expectations or the fear of “doing it right.”
I also step into the community. Conversations, workshops and collaborative processes often unlock new pathways for me. Being in dialogue across cultures, languages and generations reminds me why I make theatre in the first place.
Sometimes, being stuck is a sign that I need to slow down and listen more closely. I allow uncertainty to be part of the process, trusting that meaning will emerge through repetition, attention and care.
