In the last in our series profiling the shortlisted candidates for City of Culture 2025, Claire Whitaker says Southampton has been connecting the UK with people across the globe for thousands of years.
In the third of our series profiling the shortlisted candidates for City of Culture 2025, Ian Bancroft reveals Wrexham as “one of the last punk places in the UK”.
In the second in our series profiling the shortlisted candidates for City of Culture 2025, Shanaz Gulzar shares how Bradford's young people shaped a bid that awakened a sleeping giant of a city.
In the first in a series profiling the shortlisted candidates for UK City of Culture 2025, Alison Clark introduces the county whose bid is inspired by the Durham Miners Association.
Can the cultural sector embrace collaboration as an essential tool to dismantle racism? In launching their new campaign, Arts Against Racism, Inc Arts thinks it must.
About Us* is a dazzling free show combining projection mapping, animation, music and poetry. At its heart, says Maggie Aderin-Pocock, is a simple message: we are all connected.
Choosing a multinational oil and gas corporation as the major sponsor of a climate change exhibition sounds like something straight out of 'The Thick of It'. But, says Justin Williams, Shell's corporate sponsorship of the Science Museum is no fiction.
DCMS is calling for evidence for its latest inquiry on the levelling up agenda. Jason Jones-Hall has been analysing initial data from place-based funding streams and shares his findings.
After a hugely successful eight years at the helm at Mountview, its two directors are handing over the reins. Here, Sarah Preece reflects on the leadership challenges facing the drama training sector.
What happens when creative minds from different sectors and disciplines come together to imagine and design bold, large-scale events to reach millions of people worldwide? Martin Green reveals what’s in store for 2022.
Our sector is supported by trustees and directors who, through their passion and skills, have stepped up to support organisations when the need has been greatest. But, as Jonathan Mayes argues, our boards could do better.
While audiences are most comfortable returning to outdoor events, organising a festival that can flex around ever-changing restrictions is still no mean feat. Penny Mills and Jonathan Goodacre have been looking at what’s working.
What does it mean to be Black in the arts industry today? Marking the one-year anniversary of the death of George Floyd, Gabrielle Brooks shares why she founded BlackStage UK.
