Woke-ing up: how tackling ableism benefits everyone
We all need to work harder to ensure that culture is fully accessible to disabled audiences. When we do, there are positive spinof…
Posts
Do prizes work?
What is the point of prizes? What impact – if any – do they have on the organisations that win them? Paul Owens explor…
Access shouldn’t be an afterthought
Leeds Playhouse runs courses for D/deaf and disabled artists wanting to enter the theatre. Rio Matchett shares what they have…
‘Being with’ in theatre
A new report from Oily Cart explores making theatre for and with children who have the most barriers to access. Ellie Griffiths su…
Being a young ambassador ‘inspired me to bring about change’
A key goal of UNBOXED: Creativity in the UK has been to support young people entering the creative industries. Here three of them…
Sustainable theatre production: case studies
A multiple case study is promoting new ways for theatre to make sustainable productions. Roberta Mock and Siobhan Bauer report on…
Portfolio precarity
What are the everyday experiences of arts and cultural organisations in generating and diversifying income in times of austerity?…
Prioritising children’s well-being
Poor mental health among young people is on the rise. And with it, the broader conversation about how theatre can be a useful tool…
A career dedicated to skills development
Sarah Mair Hughes marks a decade with Cultural & Creative Skills this year, topping off the milestone by winning Social Leader…
Creativity in a time of climate emergency
Just a few weeks before the COP27 climate talks in Egypt, no one credible needs convincing of the climate crisis, but the energy c…
Black History Month: The healing power of art
In his work with the British Council, Skinder Hundal is privileged to meet cultural professionals and creatives from across the gl…
Performing artists need policy support
How can cultural policy support freelance performing artists? It's a question Cecilia Dinardi has been asking in her latest re…
Fundraisers are a scarce resource, let’s not make them scarcer
As we recover from Covid and navigate the cost-of-living crisis, fundraisers are ever more important. Yet we continue to undervalu…
Performing ‘boardness’
What does it mean to have an artist-in-residence working with the board? Nicola Triscott reflects on an unusual journey revealing…
What does digital access mean for arts organisations?
Many companies are making brilliant accessible work and universal content that people want to see. But, as Harmeet Chagger-Khan ar…
The shift to thrift
The UK’s national celebration of sustainable living – the Festival of Thrift – has celebrated its 10th anniversa…
‘It’s OK to be me’
Safeguarding young people has become a live issue in schools. Scottish Ballet’s Safe to Be Me® programme is tackling the…
Creative lives on air
A new report has been published on the role of local radio in supporting messaging about creativity and positive mental health. Ro…
Time for a new pricing model?
In the first of two articles on innovative pricing practices, David Reece explores different approaches to price setting and asks…
A leadership model for the future
The challenges of shared leadership are the subject of much discussion, but the rewards are great, as the Core Artists of Unlimite…
Opera gaining traction
Far from the elitist artform he once thought it was, François Matarasso has discovered opera offers possibilities for co-creation…
Culture as a global public good
As UNESCO’s World Conference on Cultural Policies and Sustainable Development takes place in Mexico, Stephen Stenning reflec…
Dance’s unique place in the arts touring ecology
Dance Consortium has just embarked on its 50th tour. Its Chief Executive Joe Bates shares how the universal language of dance…
No return to normal
The way arts organisations responded to the pandemic offered a glimpse of how they could evolve. But a rush to any ‘return t…
