International Percussion Competition

19 - 27 September 2026 | Eindhoven, the Netherlands

Introduction

A renewed format for a new generation.

After many successful editions, we are proud to present a completely renewed structure for the TROMP International Percussion Competition.

In close dialogue with teachers, programmers, artistic leaders and performers across the globe, we asked a simple question:

What does it mean to be a solo percussionist today?

The result is a format that encourages artistic risk, embraces diverse repertoire, and celebrates personality and creative identity. TROMP has always been future-minded, and in Eindhoven, a city known for technology and innovation, we continue that legacy.

Key Rules

The TROMP International Percussion Competition is open to professional percussionists worldwide who have completed — or are in the final phase of — their professional training.

We are looking for soloists who:

demonstrate exceptional technical mastery
show artistic vision, originality and presence
present themselves as complete, creative artists
are between 18 and 35 years old on the starting date of the competition (19 September 2026)

10 candidates will be selected to perform live in Eindhoven from 19–27 September 2026.

This marks the 16th edition of the solo percussion competition, which has been at the heart of TROMP since 1971.

Find the complete information about the TROMP International Percussion competition in our Rules and Regulations.

Repertoire

PRELIMINARY ROUND - Online

Applicants must submit the following:

a live video recording of
- one piece from the curated list (see Round 2)
- one freely chosen work (max. 10 minutes)
a proposed program for the live rounds in Eindhoven
optional: an artistic justification of the selected works. If included, the jury will consider this in their evaluation. Submitted in form of a text (maximum 3 pages) or video (maximum 7 minutes) via MUVAC

A selection committee selects 30 candidates based on artistic potential, craftsmanship, and vision.

Top 10 are invited to compete in Eindhoven
Ranked 11–30 receive a free entrance ticket to the TROMP Academy (see FAQ)

ROUND 1 “CURRENT PULSE” – Black Box - CKE Eindhoven -
Sunday 20th of September

Each participant presents

a 30-minute personal portrait in a Black Box setting
- complete artistic freedom in repertoire, instrumentation, form, and presentation
- participants may include multimedia, electronics, improvisation, or interdisciplinary elements

The venue provides a sound installation, stage lights and one beamer.
(see Theaterzaal and Zaal met uitschruifbare tribune)

ROUND 2 “FACETS OF PERCUSSION” – Recital Hall, Muziekgebouw Eindhoven - Tuesday 22nd of September

A festival-style evening concert featuring all ten participants. Each participant prepares

two works from the curated list (approx. 14 minutes in total)
only one of the two works will be performed, selected by the TROMP artistic team (communicated two weeks prior).
the curated list:
- Aperghis, Georges - Le corps à corps
- Akiho, Andy - Cartograph
- Cuong, Viet - Well Groomed
- Dessner, Bryce - Tromp Miniature
- Druckman, Jacob - Reflections on the nature of water *
- Fujikura, Dai - Chirping Birds
- Henderickx, Wim - 1001 Nights
- Huber, Nicolaus A. - Clash Music
- Kishino, Malika - Fragrant Wood
- Lang, David - The Anvil Chorus
- Lang, David - Miracle Ear
- Lim, Liza - Love Letter
- Lobowitz, René - Trois Caprices
- Manoury, Philippe - Le Livre des Claviers, IV
- Marinissen, Arnold - Totem
- Maresz, Yan - Étude d’impacts
- Matalon, Martin - Trace XVII
- Matalon, Martin - Short Stories
- Mérigaux, Théo - Tambour de Pan *
- Neuwirth, Olga - Coronation I: Io son ferito ahime
- Omelchuck, Oxana - Staahaadler Aff‘
- Saariaho, Kaija - Six Japanese Gardens *
- Saunders, Rebecca - Dust *
- Sartorius, Julian - RLLRLRRLL (Solo Version)
- Seo, Juri - V
- Stockhausen, Karlheinz - Vibra-Elufa
- Wallin, Rolf - Realismos Mágicos *
  * These works are longer than 10 minutes. Participants may select a maximum of 10 minutes of music. Please note that it is the participant’s own responsibility to obtain permission from the composer or publisher for any such selection.

The evening includes a public reception, intermissions, and contextual introductions.

ROUND 3 “POSTCARDS TO THE FUTURE” - Pitch & Performance ("Talk meets Recital") – DomusDela Eindhoven -
Wednesday 23rd of September

Each participant presents

a 20-minute recital (acoustic works only), consisting of:
- a mandatory commissioned work
- a curated solo program built around that work
a pre-recorded video pitch (jury only), presenting a vision for how the theme could develop into a full-length concert or installation. This video will only be used by the jury during the selection process. The video will not be screened at the competition.
- max. 10 minutes
- format is fully open – e.g.: a direct-to-camera spoken pitch, a narrated visual presentation, a creative video production, a concept film with projected imagery and sound
- judged on conceptual clarity and artistic strength, not production quality
- you may speak in your native language, but if you do, please include English subtitles

You will receive the mandatory commissioned work beginning of April 2026.

The pre-recorded video pitch only needs to be uploaded by the selected participants. The deadline is on 1st of September 2026.

After Round 3, a selection takes place. Three candidates will be selected to present themselves in the Final round.

FINAL – with Het Muziek – Recital Hall, Muziekgebouw Eindhoven -
Sunday 27th of September

The three finalists perform a recital in collaboration with Het Muziek conducted by César Ramos.

Rehearsals take place Thursday–Saturday, 24-26 September, working with:

a composer of a fixed-score work (8–10 minutes), selected by TROMP
a composer of a “roadmap score” – an open structure co-created with the soloist and ensemble
a visual artist

Each finalist presents a 35-minute program including:

the fixed-score (mandatory), selected by TROMP
the roadmap piece (mandatory)
additional solo or chamber works (optional)
- chamber parts should be easily rehearsable: think soundscapes, melodic fragments, or basic accompaniments.
- the ensemble will only be informed of the three finalists one day before the first rehearsal (on Thursday). This means there is very limited time for the musicians to prepare. Therefore, we ask you to take this into account when designing your final program:
  - please ensure that any ensemble parts you propose are feasible to rehearse and perform within a short time frame
  - avoid complex or highly virtuosic ensemble writing
  - simpler ideas such as a soundscape, a single-line melody, or a clear accompaniment (e.g. flute with percussion, or ambient textures) are very welcome.
  - Available instrumentation:
    - Flute (Ossia: piccolo, alto flute, bass flute)
    - Oboe (Ossia: English horn)
    - Clarinet in B-flat (Ossia: contrabass clarinet)
    - Trumpet (mutes: wa-wa, straight)
    - Tenor Trombone with F attachment (mutes: wa-wa, straight, plunger)
    - Violin
    - Viola
    - Violoncello
- the jury will consider the feasibility of your proposed program as part of their evaluation in earlier rounds.

You will receive the fixed-score work on 15th of August 2026.

The final serves as the festival’s closing concert, with jury, press, public, and network partners in attendance.

Jury

We are proud to present the jury for the TROMP International Percussion Competition 2026! Bringing together artists from Europe, Asia, North America, and Africa, the jury reflects the global scope of contemporary percussion and a wide range of perspectives across composition, performance, education, and programming.

The TROMP International Percussion Competition consists of:

Arnold Marinissen (Chairman) – composer and percussionist; head of composition, classical voice & master research at the Conservatorium van Amsterdam

Vassilena Serafimova (Bulgaria) – third prize TROMP 2010; artistic director of Les Percussions de Strasbourg; professor in Lausanne

Mike Truesdell (USA) – second prize TROMP 2010; associate professor of Music performance at Ithaca College

Johannes Fischer (Germany) – first prize ARD 2007; professor at Lübeck University of Music

Malika Kishino (Japan) – composer commissioned to write the final work for the 2026 edition of the TROMP International Percussion Competition

Karim Ziad (Algeria) – percussionist, drummer, and composer blending North African rhythms with jazz and world music; artistic director of the Gnaoua Festival in Essaouira

Alexandre Esperet (France) – first prize TROMP 2012; assistant teacher at the CNSMD Lyon; member of Trio SR9

Festival experience & prizes

All participants invited to Eindhoven will receive free access to all TROMP Festival concerts, as members of our audience.
At TROMP Festival 2026, you’ll have the opportunity to meet and be inspired by some of the world’s leading percussionists — both performers and fellow students.

PRIZES

There are four prizes that can be won in this competition. Only the competition finalists qualify for the three ranking prizes. All 10 competitors qualify for the Friends of TROMP Audience Award.

The three ranking prizes will be awarded by decision of the competition jury and will be publicly announced immediately after the competition finale on Sunday September 27th, 2026.

1. First Prize

A total prize sum of €15,000 will be awarded. Of this, €8,000 is reserved for the development of a personal artistic project in collaboration with the TROMP Team, to be presented at a future edition of the TROMP Festival.
Options for concert engagements and master classes within two years after the Competition.

2. Second Prize

A total prize sum of €10,000 will be awarded. Of this, € 6,000 is reserved for the development of a personal artistic project in collaboration with the TROMP Team, to be presented at a future edition of the TROMP Festival.
Options for concert engagements and master classes within two years after the Competition.

3. Third Prize

A total prize sum of €5,000 will be awarded. Of this, €3,000 is reserved for the development of a personal artistic project in collaboration with the TROMP Team, to be presented at a future edition of the TROMP Festival.
Options for concert engagements and master classes within two years after the Competition.

The portion of the prize money reserved for artistic development is to be used for the creation of a personal project in collaboration with the TROMP Team, intended to be presented at a future edition of the TROMP Festival.

This process will take place in close consultation with the artistic director. The TROMP Foundation is committed to supporting the artistic growth of percussionists and has a strong international network and a proven track record in launching the careers of its laureates.

The Friends of TROMP Audience Award

This prize is awarded by the audience attending the Final Round of the TROMP International Percussion Competition.
Audience members vote by ballot, based on the performances of the 3 finalists.

The winner of the Audience Award will be publicly announced immediately after the Competition Finale.

The prize consists of:

Concert in Eindhoven in season 2027/2028
Video recording sponsored by TROMP

Artistic Team - Round 3

YANNIS KYRIAKIDES - composer

Yannis Kyriakides (born 1969, Limassol) is a Cypriot-Dutch composer and sound artist whose work bridges acoustic tradition and digital innovation. After studies with Louis Andriessen and Dick Raaijmakers in The Hague, he developed a distinctive voice combining instruments, live electronics, language and media. Kyriakides is co-founder of the label Unsounds and teaches composition at the Royal Conservatory of The Hague. His works—ranging from chamber music and installation to opera—are performed worldwide and invite listeners to rethink what music can mean in a multimedia world.

SEISMISMS - mandatory commissioned word Round 3

Seismisms is a score that translates daily seismic activity into a notated form for solo percussion. Drawing on data from the USGS earthquake database, each day’s seismic events are mapped visually onto a single page. Over time, these daily pages accumulate into a score: a year comprises 365 pages, each one a unique snapshot of global tectonic movement

The score is conceived as open: it does not prescribe fixed rhythms, but rhythmic relationships, no fixed pitches, but relative pitches and textures. It also provides the performer with visual translations of seismic activity. The performer responds sonically through three families of sound, which are encoded in the score:

1. low membranophones (bass drum, timpani, or low toms), evoking the ground’s resonant, subterranean presence.
2. small objects played on or around the drum (shaken idiophones, branches, stones, or metals), suggesting friction, scattering, and surface detail.
3. instruments capable of high sustained tones (bowed metals, ocarinas, whistles, melodicas), producing fragile, unstable sounds that mirror an instability and unpredictability of weather around seismic activity.

The piece is of indeterminate length. The percussionist may choose any number of consecutive pages to perform, shaping a form that can range from brief to extended durations. Initially, Seismisms will exist as a score (in PDF form) of a total of 365 pages, a year’s activity. In its future form, the work will become “mutable": a continuously generating online score where each day’s seismic data is translated into a new page, exported as a PDF. In this way, the piece is potentially endless, a living record of seismic activity rendered as music.

For its premiere at Tromp, the percussionist will devise an individual setup based on the three recommended sound families. In this first version, no amplification will be used.

Examples of Yannis Kyriakides’s work: Music for Viola, Lunch Music (video), Hands

www.kyriakides.com

Preview of the Seismisms score

Artistic Team - Final

MALIKA KISHINO - composer

Malika Kishino (born 1971, Kyoto) is a Japanese-born, Germany-based composer whose work explores sound as a living, evolving organism. After studying law in Kyoto, she continued her musical education in Paris and Lyon, including research in electronic music at IRCAM. Kishino is known for her refined and architectural approach to composition, often blending acoustic instruments with electronics to create vivid, organic sound worlds. Her music ranges from solo and chamber works to orchestral pieces and sound installations, and is performed internationally by leading ensembles. Kishino is regarded as one of the distinctive, forward-looking voices in contemporary music today.

Malika Kishino is writing a new work for the 2026 edition of TROMP Competition. The piece is inspired by her 2021–22 Percussion Concerto for percussionist Alexej Gerassimez (TROMP winner 2010) and the Duisburger Philharmoniker under Jonathan Stockhammer, premiered at Essen Now in November 2022.
You can listen to thatconcerto. This is intended to serve as inspiration for your program.

www.malika-kishino.com

GENEVIEVE MURPHY - composer & dramaturg

Genevieve Murphy (born in Scotland, based in Amsterdam) is a composer and performer known for her highly personal and interdisciplinary approach to music. Combining contemporary classical composition with performance art, psychology, spoken word, and visual elements, her work often explores themes of identity, perception, and human behaviour.

Murphy creates projects ranging from solo performances to multimedia works and collaborations with ensembles, choreographers, and visual artists. Her music has been presented internationally at festivals and theatres across Europe, and she is celebrated for her ability to merge emotional storytelling with experimental sound worlds.

Working with Genevieve Murphy in the Final Round

In the Final Round, composer and performer Genevieve Murphy will take on a double role as both dramaturg and composer. She will work closely with each finalist during the three rehearsal days to help shape, connect, and refine your complete 35-minute recital

She will compose new musical material specifically for your recital, tailored to your artistic ideas and to the instruments you use.
This material can function as:
- transitions between two pieces
- a short interlude or character moment
- a “bridge” between contrasting sound worlds
- a way to move from solo repertoire into the compulsory work by Kishino
She will also help you finalize the overall structure of your program and make dramaturgical connections between the works you choose

Genevieve will compose approximately six minutes of material in total — not as one piece, but divided into two or more short moments that you can weave into your program.

Her stylistic range is broad, from intimate spoken-word textures to energetic percussive writing — offering many possibilities for shaping transitions and atmospheres in your recital.

What you must prepare as a finalist

When designing your final recital, it is essential that you:

leave space in your program for Genevieve’s material (we recommend planning two separate moments where her music can be inserted).
choose repertoire that relates well to the compulsory work by Malika Kishino, as Genevieve will use Kishino’s musical world as an artistic reference.
bring clear ideas about where you want transitions or dramaturgical shifts — Genevieve will help you shape these during the three rehearsal days.

Example (not mandatory)

A possible approach could be:

begin with a solo work of your choice
transition with a short section composed by Genevieve
ilay the compulsory work by Kishino
Insert a second Genevieve moment to shift into your final piece
end with another work of your choice

This is only an example. You are free to design your own structure — as long as you actively include Genevieve’s material and allow space for collaboration.

Why this matters

The Final Round is built around co-creation. Your recital is not just a sequence of pieces, but a compact artistic story developed together with:

the Asko|Schönberg musicians
two composers (fixed-score + roadmap)
and Genevieve Murphy as dramaturg/composer

Finalists must be prepared to work collaboratively and flexibly — the three rehearsal days are short and intense, so coming in with a clear structure and open artistic attitude is crucial.

www.genevieve-murphy.com

JURJEN ALKEMA - visual artist

Jurjen Alkema is a Dutch visual artist and designer whose work blends projection, architecture, and digital scenography into immersive visual environments. Known for his refined use of light, movement, and space, he creates atmospheric worlds that interact with performers and reshape the audience’s perception of the stage. His installations and video designs have been presented in concert halls, theatres, and festivals throughout the Netherlands, including his striking projection work in the Kleine Zaal of Muziekgebouw Eindhoven. In TROMP 2026, Jurjen will collaborate with the finalists to create a custom visual landscape for each recital, supporting and enhancing their artistic narrative.

Working with Visual Artist Jurjen Alkema

In the Final Round, you will collaborate with visual designer Jurjen Alkema, known for his immersive projection-based work that transforms performance spaces into dynamic visual landscapes. His installations—such as his recent projection work in the Kleine Zaal of Muziekgebouw Eindhoven—combine light, architectural mapping, and live-responsive visuals to create a powerful and atmospheric concert experience.

Jurjen will design a custom visual world for your 35-minute program. This can include:

abstract projection textures
visual transitions between musical sections
architectural mapping on walls, floors, or objects
subtle ambient visuals
highly expressive imagery that strengthens your artistic narrative

His approach always supports the music rather than overpowering it.

What you can prepare as a finalist

The visual design process begins after the ten candidates are selected. You do not need to submit visual ideas during your application.
However, once selected, you can help shape the collaboration by preparing:

a moodboard
examples of colours, textures, or lighting atmospheres you imagine
reference images or video clips
or specific conceptual ideas linked to your recital program

You may also send Jurjen inspirational images or footage if you have a clear artistic direction. None of this needs to be finished at the time of your application.

Optional for the artistic concept (not mandatory)

You may already hint at a visual direction in your artistic concept if you wish, but this is not mandatory. The detailed visual collaboration happens only with the final 10 selected participants.

www.instagram.com/jurjenalkema/

Preview of Jurjen Alkema’s

Registration fee

The registration fee is 50 euros, for each participant.

Candidates who will be selected to present themselves during TROMP 2026 in Eindhoven are required to pay 225 euros participation fee. This fee includes entry to TROMP festival concerts.

Fees are non-refundable.

Deadlines

January 19, 2026 – Applications open via Muvac
March 1, 2026 – Applications closed
June 2026 – Announcement of selected candidates
September 1, 2026 – Deadline to upload pre-recorded video pitch Round 3 (selected candidates only)

TROMP uses Muvac, a professional online platform for musician applications and competition management. Through Muvac, you’ll find all details about the repertoire, program requirements, and video submissions.

You can create your Muvac account starting January 19, 2026.
Make sure you have prepared your videos, repertoire selections, and program details, so you can submit everything smoothly within the timeframe between January 19 and March 1, 2026.

Rules & regulations

You are currently reading a summary of the more comprehensive set of rules and guidelines for the TROMP International Percussion Competition 2026. The most recent rules and regulations for TROMP 2026 are published on this page.

Last update: 5 February 2026

The TROMP Foundation reserves the right to amend and/or add rules. Please check this website for the latest information to stay up to date.

FAQ

Applications will open via Muvac on January 19, 2026 and will closed on March 1, 2026. In June 2026 we will announce the selected candidates.
TROMP uses Muvac, a professional online platform for musician applications and competition management. Through Muvac, you’ll find all details about the repertoire, program requirements, and video submissions.
You can create your Muvac account starting January 19, 2026.
Make sure you have prepared your videos, repertoire selections, and program details, so you can submit everything smoothly within the timeframe between January 19 and March 1, 2026.
You may participate if you are between 18 and 35 years old on 19 September 2026.
No, a letter of recommendation is not required.
No. The jury evaluates based on musical quality, not video production. A smartphone recording is perfectly acceptable, as long as the sound is clear and everything is easy to see and hear. Please film in horizontal mode and ensure a quiet and clear recording environment.
If your piece exceeds 10 minutes, you may record the full work. However, the jury will only listen to the first 10 minutes of the recording.
No. You must submit one video per piece, even if the work consists of multiple movements.
For the preliminary round, candidates must submit their video(s) as online links via the application form in MUVAC.
You may submit either one single video containing all required repertoire or up to three separate videos (maximum). At least one video is mandatory and must include all required repertoire.
Videos must be hosted on YouTube (preferred) or Vimeo. Videos may be set to “Unlisted”, but must not be set to “Private”. Video links submitted via other platforms (such as Dropbox, WeTransfer, Google Drive or Chinese video platforms) will not be accepted.
Each video must be recorded in one single take, using one camera only. The use of multiple cameras or edited footage is not allowed. Sound and image quality must be clear, and the camera angle must be from the front right, allowing the jury to clearly see the playing technique.
The jury does not judge the video recording quality, but it is essential that the audio is captured clearly. While professional recording equipment is not required, we strongly recommend using an external microphone or portable recorder (for example a Zoom H5 or similar), which already provides excellent sound quality. Smartphone video is acceptable, but built-in smartphone microphones are often insufficient for percussion instruments.
All submitted videos must have been recorded on or after 19 January 2025.
In the application form, candidates are required to indicate the recording date (month and year) of their video(s).
Video links must be submitted directly in the MUVAC application form. Incorrect, inaccessible or private video links will not be reviewed, and no replacement links will be requested after the application deadline.
The artistic justification is optional. If you choose to include one, we ask that it addresses your complete competition program, not just Round 1.
All rounds may be fully independent. You are welcome to treat them as three separate concerts.
The jury selects the ten participants based on the submitted videos. Strict conflict-of-interest rules apply: jury members are not allowed to vote for their own students. Candidates are selected based on artistic potential, craftsmanship, and vision.
Participants are allowed to use the same repertoire for their Preliminary Round video recordings as for the live rounds.
As long as the repertoire meets the competition requirements, this is completely acceptable.
Yes, you can — in fact, we actively encourage it.
Yes. You may perform excerpts, provided the composer allows it.
Yes, as long as it fits within TROMP’s technical limitations. We will provide technical specifications in advance so you know what is possible.
Yes, you are free to collaborate with other artists — this may include musicians, dancers, or other interdisciplinary performers.
However, TROMP does not cover any costs for additional performers. If you choose to involve others, you are responsible for their travel, accommodation, and fair compensation.
Please note:
You must submit a complete and detailed plan of your performance — including collaborators and technical needs — at the time of your application. Our production team will review all proposals, and has the final say in terms of feasibility and approval. No changes can be made to your plan after the application deadline.
That said, please keep in mind that TROMP is fundamentally a solo competition. We encourage artistic freedom, but the soloist must remain clearly central and in a leading artistic role throughout the performance.
Yes, you are free to include existing works in your program, as long as they support the theme you develop around the commissioned work.
Round 3 is strictly solo, which means no other performers may be on stage and no technical equipment is provided. However, you may use a battery-powered speaker to play a pre-recorded narration, even if the voice is someone else’s. We love that you are thinking creatively and exploring new ideas.
We love that you want to present your own composition. However, as this is a solo competition, a duo performance is not possible. We encourage you to rearrange the work for solo percussion instead.
A roadmap score is a modular composition with different sections that you can organize or interpret flexibly. You will co-create this work with a composer. TROMP and the composer will provide clear instructions and support, so you know exactly what is expected. These scores will be available starting 1 July 2026.
Finalists will rehearse on Thursday, Friday, and Saturday before the final concert. You will work daily with the ensemble, composers, and creative team, and have access to a private practice space. Exact schedules and locations will be shared in 2026.
Yes. Please include as much information as possible about the work in your registration. You may upload or update the final score until 1 July.
Your pitch video must be submitted through the official TROMP application system and must function correctly. Videos that cannot be opened, played, or understood will not be considered. We will provide clear guidelines in advance regarding the required file format and technical specifications. It is your responsibility to ensure that your video works properly.
Yes. All large instruments (such as marimba, vibraphone, timpani, etc.) will be provided by TROMP.
You will also have the opportunity to select from the available instrument collection prior to the start of the competition.
You may bring your own instruments only if this has been clearly indicated in your application and explicitly approved by the production team in advance. Unauthorized or last-minute additions will not be accepted. We aim to keep the backstage area safe and organized — your cooperation is essential.
Yes. TROMP works with a network of host families in Eindhoven who open their homes to participants. It’s an informal and personal way to experience the city — more like staying with extended family than in a hotel.
In addition, TROMP offers reimbursement of pre-agreed reasonable expenses.
Please note: accommodation is modest, but we believe that sharing this experience with others is part of the unique spirit of TROMP.
Yes. TROMP works with a professional Stage Management Team that will assist you with transport, setup, and logistics during the competition.
However, it is essential that you submit a complete technical plan and stage plot at the time of your application. This allows our team to prepare properly. Lastminute changes will not be accepted.
An invitation to grow beyond the stage
In addition to selecting 10 candidates to perform live in Eindhoven, the jury of the TROMP International Percussion Competition will invite 20 additional participants (ranked 11–30) to join the TROMP Academy.
This Academy is a curated program that recognizes artistic potential and offers participants an inspiring opportunity to connect, learn, and develop beyond the competition stage.
What the Academy offers:
- access to selected TROMP Festival concerts and events
- online artistic sessions and feedback in spring 2026
- opportunities to meet fellow percussionists and international artists
- a place in the TROMP network — with space to ask questions, share ideas, and grow
Why an Academy?
TROMP believes in investing in talents from all over the world.
The Academy is a celebration of promise and individuality — and a way for emerging artists to continue their journey as part of the TROMP community.
More information will follow in early 2026.
Please note: travel and accommodation for the academy will not be arranged by TROMP.