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Michael Buffong set up Talawa Firsts when he spotted the shortage of black theatre producers, directors and writers in the UK.
Captioning theatre performances may be logistically demanding but a small touring company has just managed it − and so can others, says Mark Makin.
Creating their own works of art is important for people with severe intellectual disabilities – and possible with the right support, believes Kate Adams.
Alice Cabanas asks why women are so underrepresented among theatre production design teams in the UK.
Roz Chalmers explains how audio description can now help blind and partially sighted people to ‘see’ work in museums and galleries.
Wakefield, situated deep in industrial West Yorkshire, has successfully remodelled itself as the centre of the Yorkshire Sculpture Triangle.
Global Travel Industry News offers some tips to tourist destinations on how they can work in partnership with arts organisations.
Marie-Anne Leonard describes how selling paintings on the streets of Maidenhead has drawn visitors from all over the country.
Plymouth has put in place a visitor plan that aims to encourage tourists to the region to stop for a while and enjoy the sights and the sea. Amanda Lumley explains.
Leah Black explains how Spring Fling, originally a visual arts and craft event, has attracted new visitors by embracing nature and the environment.
The Shed, a temporary venue in front of the National Theatre, provides a third stage during the closure of the Cottesloe Theatre.
Sue Ball and Ruth Essex analyse the culture and economy around the temporary use of disused buildings.
The former headquarters building for Tetley brewery is to be transformed into a new contemporary visual arts centre for Leeds.
Janet Smith discusses how the new arts centre at the Royal Welsh College of Music & Drama has created commercial opportunities and valuable experiences for the students.
Gus Christie tells the story of Glyndebourne's wind turbine, the first to be commissioned by an arts organisation.
Ian Ritchie believes that the City of London Festival’s success over 50 years is based on taking programming risks and exploring creative partnerships.
Kerry Thomas tells how Eye Candy, a visual pop culture festival, made such a positive impact on Birmingham’s Southside.
Julian Rudd talks about his experience of partnership-working and why it is the backbone of the London Mela.
Rachel Adam argues that the Juice festival is not a ‘here today, gone tomorrow’ event unconnected to the year-round cultural ecology of the North East.
The winner of an international competition to design a sustainable temporal theatre space will be revealed at the World Stage Design festival later this year. Alice Cabanas gives the background to the competition.