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…
Posts
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…
Why Wales needs to catch up
The arts sector has a duty to challenge social injustice and promote equality and diversity, but Wales is getting left behind, war…
Is government preparing to privatise the arts?
How much longer will the UK government support the arts? Andrew Pinnock fears all signs point to it adopting a much more commercia…
Let’s take on panto
Has panto become culturally inappropriate, racist even? Oh yes it has, calls out Daniel York.
Letter: A matter of deepest regret
Following revelations of elitism in music education, Principal of the Royal Conservatoire of Scotland, Professor Jeffrey Sharkey,…
Why the EBacc will divide society
Over 100,000 children a year will lose the chance to study the arts when the EBacc becomes compulsory in schools, and the least pr…
A more creative role for producers
Once a curator, now a producer, Mary Paterson calls for the artist-producer relationship to be re-imagined as something more creat…
Progress is lovely
Researcher Stephen Pritchard raises concerns that the latest evaluation of ACE’s Creative People and Places programme was ba…
No more ssshhing or custard creams
Adults – parents, teachers and theatre-makers included – need to stop trying to control children’s experien…
Proper scrutiny in the arts requires a strengthened ombudsman
National museums and the Arts Council are protected from scrutiny by barriers to accessing Parliament’s investigative arm. I…
£2m in Arts Council funding for Emma Rice’s new company is everything that’s wrong with the arts
If the national funder really cared about equality, it wouldn’t endorse a £2m application from a nine-day-old organisa…
What are we counting?
Roger Tomlinson has more questions than answers about the quality metrics system that Arts Council England’s larger NPOs wil…
Creating real connections
As technology becomes an increasingly distracting force, it’s down to live entertainment to tempt people to set aside their…
