When the Gambling Commission announced a new operator for the National Lottery, current operator Camelot went to the High Court. Will funding for the arts be affected by this dispute, asks Chris Sharratt?
Shakespeare North Playhouse is a brand-new theatre modelled on a traditional Shakespearean era playhouse. Melanie Lewis shares the challenges of bringing this ambitious regeneration project to life.
Cultural experiences - as offered by Our Place in Space - are vital for youngsters with special educational needs. Dan Byrne, an SEN teacher, suggests more can be done to make them accessible and fulfilling.
While much has been written about the impact of Brexit on the performing arts, Şenay Camgöz shares insights from a new report on the challenges for the visual arts.
Rebranding isn't just refreshing visual identity, it’s part of a strategic jigsaw in articulating your purpose. Rambert has been looking at ways to resonate beyond its immediate audience, as Jo Taylor explains.
Engagement with longform online content may be on a downward trend but, as Adam Koszary writes, expectations for creative storytelling on social media is picking up apace.
If you support someone to feel good about themselves, they’re going to give you their best and, most importantly, do the best for themselves, says Vicki Igbokwe.
In this second article on dealing with challenges thrown up by the pandemic, Cimeon Ellerton-Kay and Natalie Hall shine a spotlight on existing assets and radical collaboration.
Becky Chapman and Ben Qasim Monks are co-chairs of the board at Exeter Northcott Theatre. They share how they have shifted from an ‘oversight’ model of governance to an emphasis on ‘insights’.
Since the Russian invasion of Ukraine, a Kyiv theatre has become a bomb shelter for artists and locals. Its director Alex Borovenskiy has led the creative and humanitarian initiative using Facebook.
How do art and artists contribute to innovation? Hasan Bakhshi and David Maggs argue that the typical ways of inquiring into the world are in desperate need of revitalisation.
New research confirms that elite institutions are still the dominant players in the interconnecting networks running the arts. Dave O’Brien and Mark Taylor share their findings.
