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Many international dance companies tour the UK thanks to the Dance Consortium, but venues, young dancers and many others also benefit from its work. Ros Robins explains how.
Following the launch of the Cultural Coastal Network, Polly Gifford explains why it’s needed and what it hopes to achieve.
In a bid to listen more to its audiences, Manchester’s Royal Exchange Theatre launched a collaborative project that resulted in an ‘audience manifesto’. Amanda Dalton shares the surprising results.
Drama can boost the wellbeing of homeless people, but engaging them is not without challenges. Jon Randall shares his experiences producing and touring theatre with Lancaster’s homeless community.
An outdoor performance project featuring blind and visually impaired dancers and musicians has pulled passers-by into a world of ‘sonic vision’. Isabel Jones shares the effects on performers and audiences.
60 young people in Cambridgeshire stay behind after school every week to sing, compose music and play instruments. Lin Hetherington tells the story.
Watershed in Bristol has learnt from its customers with hearing impairments how to be more welcoming, including by learning basic signing. Louise Gardner tells the story.
Graeae has successfully developed D/deaf and disabled audiences across the UK. Richard Matthews explains the principles and strategies that guide their marketing work.
What are the dynamics when a group of artists with and without learning disabilities work together? Emma Bosworth discusses the positive outcomes of the OutsiderXchanges project.
A series of portrait-painting events exploring and celebrating diversity engaged both live and online audiences. Mandy Fowler explains how people from all around the world got involved.
Kevin Edward Turner talks through the stages of his choreographic process for Company Chameleon’s latest work, which explores his own mental health.
As a small company with no permanent dancers, Shobana Jeyasingh Dance productions are tricky to coordinate but ultimately rewarding. Amanda Skoog explains how they manage it.
The Watermill Theatre’s new box office management system has increased ticket sales and donations, and encouraged customers to book earlier, says Libby Penn.
Realising they shared values and aims, Sage Gateshead and Newcastle United Foundation decided to team up. Wendy Smith describes a project that brought music lovers and football fans together.
A new diversity programme will shift power and resources to where they can be most effective. Dawn Walton explains the thinking behind Eclipse Theatre’s new artist development initiative.
Manchester Camerata’s work with people with dementia recently took its musicians to Tokyo to deliver training. Lucy Geddes reveals what they shared and what they learned.
A fascination with lullabies has led Supriya Nagarajan to produce inter-cultural performances and education projects around the world. She tells the story.
Taking inspiration from the local community for a new musical about a nightclub proved so successful for Oldham Coliseum that they’re doing it again. Cathy Crabb and Lindsay Williams tell the story.
Selling new work to audiences and venues can be difficult enough, but how do you sell a new artform like storytelling? Naomi Wilds explains how Adverse Camber has faced up to the challenge.
The Orchestra of the Swan has found a formula for boldly commissioning new works that pleases both composers and audiences. David Curtis explains his approach.