Editor’s comment: who decides what ‘quality’ is?
The lack of traction and success for BME-led and disabled-led organisations deserves our attention, says Amanda Parker. Is there s…
Posts
Join the discussion on ACE’s new strategy
Over the coming weeks, ArtsProfessional will be putting your questions to Arts Council England on its new draft ten-year strategy….
Welcome from ArtsProfessional’s new Editor
ArtsProfessional is refreshing and renewing its style – but the integrity at its heart will remain, writes the publication&#…
The data illusion
Funders are increasing their demands for data from arts organisations while only paying lip service to quality in their own statis…
Letter: Trans identity is not up for debate
Artists, activists and cultural workers argue that trans activists' protests against arts programming are part of a legitimate…
Letter: A candid friend
Art Fund volunteer Jane Crease responds with incredulity to reports that the charity's financial support for its voluntee…
Encouraging signs
The casting of deaf actor Charlotte Arrowsmith in a current RSC production illustrates how committing to diversity does not mean b…
Missing the point
If we defend the arts based on evidence of positive outcomes in specific cases, we may find the very same logic turned against us,…
Looking beyond the obvious
It is right to celebrate those local authorities committed to funding culture, but long-term sustainability may depend on developi…
Also this week…
As Tate Modern's latest art installation starts to melt away, AP's Jonathan Knott reflects on how art can play a role…
Tackling the power imbalance
Independent artists and producers are vulnerable to exploitation in a two-tier system characterised by precarious employment among…
Letter: Recognition where it’s due
English teachers are arts teachers too – and should be recognised and supported as such, says Amanda Rigali.
Letter: Brexit and me
Having to apply for a separate visa for each and every EU country would put paid to many international careers, including his, wri…
Letter: We’re not here to defend the public
CEO of the Fundraising Regulator Gerald Oppenheim responds to the charge it is a toothless regulator that doesn’t care.
Meet the Fundraising Regulator – another public champion that doesn’t care about you
No one in need should put any faith in this toothless ‘regulator’, which has just spent two years squirming out of its…
Why I’m not celebrating
You may think Debbie Geraghty should be celebrating the current diversity debate, so why isn’t she?
Letter: Facing a closed door
Stunting community and voluntary arts organisations by restricting access to capital funding will hurt the whole sector in the lon…
No room for neutrals
Chris Garrard believes that no one should be neutral in the debate on ethical sponsorship.
Is ACE too posh for pop? Music leaders have their say
Representatives of Music Venue Trust and the Association of British Orchestras react to UK Music’s provocative call for…
The elusiveness of everyday culture
What – or who – needs to change to achieve cultural democracy and how can we remove the tension between official and e…
Safeguarding the arts in times of economic uncertainty
Creative Scotland may have been short-sighted to cut funding to Scottish Youth Theatre, but something needs to be done about overs…
Classical music education for the 21st century
ABRSM’s grade eight piano exam syllabus features no women composers this year. Anna Bull calls for music education to start…
We can’t leave it to chance!
Mandy Precious considers herself lucky to have discovered the arts, but are the next generation getting the same chances she did?
Will the Change Makers make a difference?
As one of Arts Council England’s cohort of Change Makers, Andrew Miller reflects on why he accepted the opportunity and what…
