Over 100,000 children a year will lose the chance to study the arts when the EBacc becomes compulsory in schools, and the least privileged will lose out most. Is this a conspiracy or a cock-up, asks Liz Hill.
Joe Hallgarten proposes a new solution to the uncomfortable fact that attendance at taxpayer-subsidised arts events remains stubbornly skewed by social class.
Liz Hill tells NPOs, ‘just say no’ to a fundamentally flawed scheme that will reveal more about the nature of the audience than the quality of an arts organisation’s artistic work.
He’s been called Nigerian, Black British and oyinbo, but Inua Ellams just feels normal. He calls for the destruction of ‘othering’ classifications.
Will Jeremy Corbyn’s promise to “restore” Grant in Aid to the arts councils help reinforce Labour’s reputation as a supporter of the arts? Liz Hill has her doubts.
A yes/no referendum on museum free entry would be a terrible idea, so why did the Government think it was an acceptable way of deciding whether we stay in or leave the EU, asks Liz Hill.
Achieving greater diversity in the arts isn’t rocket science, says Ammo Talwar, but it is time for big actions.
After being met by a sea of white faces at a recent industry event, Rebbecca Hemmings says it’s time for Birmingham’s arts sector to face up to its diversity crisis.
Following shocking access at the Theatre 2016 conference, Andrew Miller asks: is this why so few disabled people work in theatre?
As Sport England celebrates the impact of its ‘This Girl Can’ advertising campaign, is it time for the arts to come up with a new approach to audience development? Liz Hill examines the evidence.
ArtsProfessional’s recent revelations about Culture Counts and Quality Metrics prompt Richard Fletcher to question how we manage information in the arts. Is it time to speak up about what we want and need?
Institutional favouritism lies at the heart of Arts Council England’s funding framework, and ACE does itself no favours by trying to defend the indefensible, says Liz Hill.
Despite decades of investment in audience development and the current enthusiasm for all things data, arts organisations still aren’t getting it, says Michael Nabarro.
Bev Adams accuses funding assessors of ‘project snobbery’ and favouring venue-based organisations over artists working in the community.
Liz Hill sets the record straight on the contribution that touring activity by London-based arts organisations makes to the rest of England.