A deliberately select roster of actors, musicians, classical artists, models, and creators — one company, six specialist divisions, headquartered in New York.
Every artist here signs to the Group, not to a department — one team, with reach across all six divisions.
A soprano bound for a festival main stage, a screen actor crossing into fashion, a creator whose work has outgrown a single platform — each is represented by a single team, so a career is never limited to the door it entered through.
We keep the roster deliberately small and the standard deliberately high. Representation at AYA is by invitation or submission, and every artist we sign is one we intend to keep for a decade, not a season.
Actors, directors, and writers — from first features to franchise leads and the legitimate stage.
Enter the division Division IIWorldwide booking and routing — tours that build careers, from club runs to arenas.
Enter the division Division IIIGeneral management for conductors, instrumentalists, and singers, season by season.
Enter the division Division IVA boutique board with real development — editorial, campaign, and runway.
Enter the division Division VCreators represented as artists — audience, longevity, and deals worthy of the work.
Enter the division Division VIThe commercial practice of the Group — one door into the entire roster.
Enter the divisionAYA Artists Group is a global representation and artist development company headquartered in New York — managing careers across film, television, theatre, music, the classical stage, fashion, and digital culture.
The modern agency grew large by growing wide. Somewhere in that growth, the artist became an account.
AYA was founded on the opposite bet — that the future belongs to representation that is smaller, closer, and more complete. We built the Group as a single practice with six specialist divisions, so the artist signs once and is represented everywhere. The concert manager who books a season sits beside the brand team negotiating a campaign; the model's development agent shares a table with film and television. Nothing is handed off. Nothing is lost between departments.
Our name is our brief: Artists, in the plural and at the center. Everything else — offices, divisions, partnerships — exists to serve that word.
Deliberate scouting — conservatoires, festivals, open submissions, and trusted recommendation. We sign early, and we sign carefully.
Craft before market: coaching, repertoire, materials, image — the unglamorous years that make an overnight arrival possible.
The right debut, the right stage, the right partner — sequenced, not scattered. We decline ten offers before accepting one that shortens a career.
Careers managed in decades: seasons planned ahead, calendars protected, and the commercial base that lets the artist choose the work.
Discretion. Our artists' business is nobody else's. We do not publish our roster and we do not trade in our clients' names. Reputation is built in rooms, not headlines.
Candor. Artists deserve the truth early — about the work, the market, and the offer on the table. We give the advice we would give family, whether or not it is convenient.
Patience. The industry rewards speed; artists are rewarded by timing. We hold our nerve, and our artists', through the slow years as well as the loud ones.
AYA is led by its senior agents and managers, each of whom carries a personal list and sits on the Group's representation committee. Full leadership profiles will be published here.
Every AYA artist is signed to the Group, not to a department. The six divisions are specialist practices that work a single roster together — so a career can move wherever the talent leads.
Actors, directors, and writers — development to premiere, screen and stage.
Enter the division Division IIWorldwide booking and routing, from first headline runs to arenas.
Enter the division Division IIIGeneral management for the concert hall, the opera house, and the recital stage.
Enter the division Division IVEditorial, campaign, and runway — a boutique board with real development behind it.
Enter the division Division VRepresentation for artists whose first stage is digital.
Enter the division Division VIOne door into the whole roster — the commercial practice of the Group.
Enter the divisionArtists are signed to the Group as a whole; the division named on signing is simply the first door. Cross-division representation is the standard at AYA, not the exception.
Bespoke representation for actors, directors, and writers — built on taste, timing, and dealmaking that protects the long arc of a body of work.
The screen division carries the Group's founding conviction: an actor's filmography should read like a curated retrospective, not an accident of availability. We build each client's slate season by season — balancing prestige and reach, independent and studio, screen and stage — and negotiate as if every deal sets the precedent for the next ten.
For writers and directors, we work from the page up: developing material, attaching talent across our own roster, and steering projects through financing, production, and premiere with partners on four continents.
Live performance remains the foundation of a durable music career. We book it, route it, and build it into the engine of everything else.
A tour is not a list of dates; it is a statement about who an artist is becoming. Our booking practice routes each season against that statement — the right rooms at the right size in the right order, on terms that leave the artist stronger than the settlement sheet suggests.
Around the live core we coordinate everything the road touches: release timing, festival positioning, support selection, international market entry, and the sponsorship work Division VI brings to the table. One calendar, one team, one direction.
General management in the great European tradition — conductors, instrumentalists, and singers represented with scholarship, patience, and a season-by-season hand.
Classical careers are built over decades and can be spent in a single one. Our managers plan repertoire and debuts years ahead — which concerto, which hall, which conductor, in which order — and decline the invitations that arrive too early, however flattering the fee.
We work directly with orchestras, opera houses, festivals, and presenters worldwide, and we manage the whole professional apparatus around the artist: recording relationships, competition strategy for younger artists, media and materials, and the pastoral care a life on the road actually requires.
A boutique board with a development spine — editorial, campaign, and runway careers built face by face, not in volume.
We carry fewer faces than the boards we compete with, and we develop every one of them properly: test shoots with photographers we trust, portfolio and digitals built to international standard, walk and on-set preparation, and honest guidance about the markets where each career will actually open.
Because the board sits inside the Group, our models cross naturally into what the rest of AYA does — campaigns negotiated by Brand Partnerships, screen work through Division I, creator businesses built with Division V. A face is a beginning, never the whole brief.
Serious representation for digital-first artists — audience strategy, original development, and commercial terms worthy of the work.
Creator careers fail in predictable ways: dependence on one platform, one format, one pace of output. Our job is independence — building each creator's work into a body of intellectual property, a diversified audience, and a commercial base that survives every algorithm change.
We negotiate brand work through Division VI, develop original formats for streaming and television through Division I, and treat the move from screen to stage — tours, live shows, publishing — as the natural second act it has become.
The commercial practice of the Group — endorsements, campaigns, and cultural collaborations negotiated on the artist's terms.
Every artist at AYA has one commercial team behind them, whatever division they entered through. We build partnership strategies around what each artist actually stands for, pursue the brands that fit, and decline — often — the ones that don't. A campaign should read like a collaboration between equals, because we negotiate it as one.
For brands and institutions, this division is the single door into the whole AYA roster: one conversation that can reach an actor, a soloist, a face, and a creator — and the team that can build something original across all four.
We do not publish our roster. The names we represent are shared with engagers, casting, presenters, and brands directly — a discretion our artists value and our partners understand.
Verified industry professionals — casting, presenters, producers, brands, press — may request roster materials for a specific project or season.
Your roster request has been sent to info@ayaartists.com. Our representation office will respond directly.
A two-year fellowship inside the Group for exceptional early-career artists — the craft, the materials, the introductions, and the patience a serious career is built on.
Half of our name is a promise.
Artist development at AYA is not a scouting funnel or a paid course — it is the Group working for artists the market hasn't priced yet, on the same floor and to the same standard as our established roster.
Each year we invite a small cohort of fellows across our divisions: an actor leaving drama school, a soloist between competitions, a new face in her first season, a creator whose work outruns their audience. Fellows are mentored by the senior agents who will one day represent them, and the programme ends the way it is designed to — with an offer of full representation, or with an honest account of why not, and doors opened either way.
Coaching, repertoire, and preparation with the teachers and mentors the Group itself relies on.
Reels, portfolios, photography, and biographies produced to the standard the industry hires from.
Introductions that are earned, not sprayed — casting, presenters, editors, and A&R, when the work is ready.
A senior agent's hand on the first contracts, fees, and refusals — the decisions that shape everything after.
Four stages, applied to every career in the house — the same discipline for a debut soloist as for an established lead. This is the operating system of the Group.
We scout deliberately — conservatoires, festivals, drama schools, open submissions, and the quiet recommendations of people we trust. Every candidate is reviewed by the division they belong to and confirmed by the representation committee. We sign early, and we sign carefully: the question is never "can this artist work," but "can this artist matter."
Craft before market. Coaching, repertoire, materials, image — the unglamorous years of preparation that make an overnight arrival possible. Development at AYA is not a service we sell; it is the standard of readiness we hold our own roster to before we put a name in front of the industry.
The right debut, the right stage, the right partner — sequenced, not scattered. We map each season against where the career should stand in five years, and we decline ten offers before accepting one that shortens the arc. Positioning is the discipline of saying no.
Careers are managed in decades. We plan seasons ahead, protect the calendar from burnout, renegotiate as leverage grows, and build the commercial base — through Division VI — that lets the artist choose the work rather than need it.
One committee, six desks, a single file per artist.
Every artist's strategy lives in one place and is reviewed by the full representation committee each season — screen, music, classical, fashion, digital, and commercial in the same room. Offers are answered within the week; strategy is never made under deadline pressure that the other side controls.
The method also governs what we do not do: we do not carry volume rosters, we do not sign for a single project, and we do not attach fees to any stage of consideration.
AYA is led by its senior agents and managers — every leader carries a personal list, sits on the representation committee, and answers to the same standard as the newest signing.
There is no floor at AYA where the artists are an abstraction. The Group is governed by a representation committee of the six division heads and the managing partners, meeting weekly in New York and by season across the other offices. Every signing, every major offer, and every departure passes through that room.
Leaders here are working agents. Division heads carry lists; managing partners negotiate. Administration serves the desks, not the other way around.
Individual leadership profiles, with full biographies, will be published on this page as appointments are announced. Press inquiries about the leadership team: info@ayaartists.com.
Each office is a full door into the Group — not a branch. Wherever an artist or partner enters, the whole roster and every division answers.
The seat of the Group: the representation committee, the managing partners, screen and brand practices, and the submissions review. All general correspondence is triaged here. Visits are by appointment.
The West Coast desk for film, television, and the creator economy — studio and streamer relationships, packaging, and Division V's original development slate.
The European seat: classical and vocal management, theatre and the West End, and touring across UK/EU circuits, working day-to-day with orchestras, houses, and festivals.
The Asia-Pacific desk: fashion markets and the board's development in Asia, touring and festival routing for the region, and partnerships with brands building culturally fluent campaigns.
Street addresses are shared with confirmed appointments. One address reaches every office: info@ayaartists.com — name the city in your subject line.
For brands, cultural institutions, and producers: Division VI is the single door into everything AYA represents — an actor, a soloist, a face, a creator, or something original built across all four.
Send the brief — audience, territory, timeline, budget band — to info@ayaartists.com with "Brand partnership" in the subject. A Division VI agent responds within two business days.
We answer with a short, considered list from the roster — never a catalogue — with availability and a point of view on fit. Roster materials are shared in confidence.
One negotiation, one paper, one team — usage, exclusivity, territory, and renewal options set out plainly, with the artist's long-term position protected in the structure.
Production support, approvals, and a named contact through the life of the campaign — and a review at the end that decides whether there is a second chapter.
For casting directors, producers, presenters, artistic administrators, and bookers: how to reach the roster, what we provide, and how fast we answer.
The roster is held in confidence and shared directly with qualified professionals. Request access through the roster form or write to info@ayaartists.com with "Roster inquiry" in the subject; a representation agent answers every qualified request, normally within two business days.
For a named engagement — a casting brief, a season slot, a festival date — include the project, dates, venue or platform, and the offer's shape. We respond with availability and, where the fit is wrong, we say so and suggest where to look instead.
Representation is a position of trust. These are the commitments the Group holds itself to — in writing, for artists, applicants, employees, and partners alike.
Applicants under 18 are considered only with a parent or legal guardian present in the process, from first submission to any meeting. Meetings with minors are never held one-to-one, and chaperones are welcomed at every stage, at any age.
AYA never charges to apply, to be reviewed, to be developed, or to be signed. Our income is a commission on work we win for our clients — the only alignment we consider honest. Anyone charging in our name is committing fraud; report it to info@ayaartists.com.
Open submissions exist so that talent without connections has a door. Every submission is read by the division it addresses — not screened out by an algorithm or an intern's afternoon.
We plan calendars against burnout, we build rest into touring, and we treat a client's decision to pause as a decision to respect, not to renegotiate.
On sets, stages, and shoots we work to the industry's professional-conduct standards, and we remove our artists from environments that fail them. Concerns raised with us are acted on, and raising one is never held against an artist's career.
To raise a concern in confidence, write to info@ayaartists.com with "Confidential" in the subject line; it is read only by a managing partner.
Boilerplate, facts, and brand usage for journalists and editors — and how to reach us on deadline.
About AYA Artists Group — AYA Artists Group is a global representation and artist development company headquartered in New York, with offices in Los Angeles, London, and Shanghai. The Group represents a deliberately select roster of actors, musicians, classical artists, models, and creators across six specialist divisions — film, television & theatre; music & touring; classical & vocal; models & fashion; digital & creators; and brand partnerships. ayaartists.com
This paragraph may be used verbatim in coverage of the Group.
The AYA monogram and lockup may be reproduced in editorial coverage without alteration — no recoloring, stretching, or placement over imagery that compromises legibility. The name is written "AYA Artists Group" in full on first reference and "AYA" thereafter. Logo files and approved imagery are provided with press-kit requests.
Everything artists ask before submitting — answered plainly. If your question is not here, the Submissions Policy is the formal word.
No — nothing, at any stage. AYA never charges application, review, development, or signing fees. We earn a commission only when you earn. Anyone asking for money in our name is not AYA; report it to info@ayaartists.com.
Only through the form on our Submissions page, which prepares an email to info@ayaartists.com. Include links (never attachments): a reel or recent live recordings for performers, simple digitals for models, channels and your three best pieces for creators — plus a few honest sentences about training, credits, and what you are looking for.
Every submission is read by the division it addresses. If we see a path to representation you will normally hear within four to six weeks. We are unable to reply to every submission or to give feedback on unsuccessful ones — silence after six weeks means we could not take it further this time.
Yes, with a parent or legal guardian making or accompanying the submission, and present at every later stage. We never meet minors one-to-one, and chaperones are welcome at any age.
Yes — when something material has changed: new work, new training, a new market. A resubmission with the same materials will reach the same answer; one that shows movement is read with genuine interest.
A two-year fellowship inside the Group for exceptional early-career artists — craft, materials, introductions, and a senior agent's counsel, ending in an offer of full representation or an honest account of why not. Apply through the standard submission form and select "Development Programme."
Sometimes. We prefer to represent the whole career, but we do enter clearly-bounded arrangements where an existing representation is working well. Say so in your submission; honesty about existing ties never counts against you.
It does not matter — submissions are reviewed centrally in New York and routed to the right division and office. Where you are based simply becomes part of the strategy conversation if we proceed.
Yes. Submission materials are seen only by the reviewing division, never shared outside the Group, and deleted after review if we do not proceed — see our Privacy Policy for the formal terms.
Qualified professionals request access through the Artists page and receive materials directly. The roster is never published — which means when we send your work, it is being looked at, not scrolled past.
Announcements, signings, and season notes from AYA Artists Group. Press inquiries: info@ayaartists.com.
The Group's two-year fellowship for early-career artists opens across all six divisions. Fellows are mentored by AYA's senior agents and prepared for full representation. Applications are made through the standard submissions process, marked "Development Programme."
AYA Artists Group is now reviewing submissions from actors, musicians, classical artists, models, and creators worldwide. Every submission is read by the division it addresses; we respond to those we are able to pursue.
Headquartered in New York, the Group opens with representation practices spanning film, television and theatre; music and touring; classical and vocal; models and fashion; digital and creators; and brand partnerships — working across New York, Los Angeles, London, and Shanghai.
Division III adds a dedicated touring desk for orchestras, ensembles, and special projects — including film-with-orchestra programmes — working with presenters and festivals internationally.
Agencies are their people. We hire slowly, train properly, and promote from within — and we are always reading applications from those who want to build careers other than their own.
Taste, discretion, and stamina — in that order.
Our agents and managers come from conservatoires and casting offices, from touring production and fashion boards, and from no industry at all. What they share is the temperament of the profession: the patience to build slowly and the nerve to advise honestly.
Every career at AYA begins close to the work. Assistants sit in the rooms, read the contracts, and learn the standard the Group holds itself to. It is not the fastest apprenticeship in the industry; it is one of the most complete.
Specific openings will be listed here as the Group grows. In the meantime, we read every general application — a short letter and a CV, naming the office and division you hope to join.
AYA reviews submissions from artists worldwide, across all six divisions. We sign rarely — but every submission is read by the division it addresses, and we respond to each one we are able to pursue.
Actors, directors, writers — a current reel or writing sample, headshot, credits.
Musicians & classical artists — recent live recordings (unedited preferred), repertoire, upcoming engagements.
Models — simple digitals: no makeup, hair back, fitted clothing, natural light. Phone photographs are perfectly acceptable.
Creators — links to your channels and the three pieces of work you are proudest of.
Your submission has been sent to info@ayaartists.com. Our reviewing team will contact you if we wish to proceed.
Headquartered in New York. Wherever you reach us, you reach the whole Group — info@ayaartists.com. Visits are by appointment.
Please put the department in your subject line — it routes your message to the right desk. Official correspondence from AYA comes only from addresses at ayaartists.com.
Your message has been sent to info@ayaartists.com and will reach the right desk.
AYA Artists Group ("AYA," "the Group," "we") respects the privacy of every artist, applicant, client, and visitor. This policy describes what we collect through this website, why, and the choices available to you. Discretion is the working culture of this company, and we extend it to your data.
We collect only what you send us: the information composed through our roster request, submission, and contact forms — your name, organization, contact details, and the materials or links you choose to share. Form submissions are delivered by email to info@ayaartists.com. This site does not run advertising trackers.
We do not sell personal information, and we do not share it outside the Group except as needed to answer your inquiry or as required by law.
Applicants under 18 may be considered only where a parent or legal guardian makes or accompanies the submission. We take the safety of young artists seriously; see the safety notice on our Submissions page.
Submission materials for artists we do not sign are retained only as long as reasonably needed to complete a review, then deleted. Professional correspondence is retained as business records require.
You may request a copy, correction, or deletion of the personal information you have provided by writing to info@ayaartists.com. We honor applicable data protection rights, including those under the GDPR, UK GDPR, and CCPA, according to your jurisdiction.
By using this website you accept these terms. If you do not accept them, please do not use the site.
This website, the AYA name, monogram, and lockup, and all content and design on this site are the property of AYA Artists Group. No content may be reproduced, scraped, or reused without written permission.
Nothing on this website constitutes an offer of representation, employment, or engagement. Representation is established only by a written agreement signed by the Group.
Roster materials shared in response to professional inquiries are confidential, provided for the stated project only, and may not be redistributed.
You agree not to misuse this site — including by attempting to impersonate the Group, harvest data, or submit material you do not have the right to share.
The site is provided "as is." To the fullest extent permitted by law, the Group disclaims liability for any loss arising from use of the site or reliance on its contents.
We may update these terms from time to time; the current version will always be published on this page.
AYA Artists Group accepts artist submissions exclusively through the submission form on this website, delivered to info@ayaartists.com. Materials sent by any other route — post, courier, social media, or email to individual staff — are considered unsolicited and will not be reviewed, retained, or returned.
Neither the Group nor its agents or employees accepts or considers unsolicited creative ideas, scripts, treatments, compositions, or proposals of any kind. Any such material received is deemed non-confidential, and the Group accepts no obligation with respect to it. This protects our clients, whose own work must remain beyond question.
Every submission made through the proper channel is read by the division it addresses. We are unable to provide feedback or enter into correspondence about unsuccessful submissions.
AYA never charges a fee to apply, to be reviewed, or to be signed. Any request for payment, or for inappropriate photographs, made in the Group's name is fraudulent — please report it to info@ayaartists.com.
Submissions concerning applicants under 18 must be made by, or with the documented consent of, a parent or legal guardian.