Chris Bannerman tells how he reluctantly became a key driver in a complex collaboration involving choreographers, dancers and academics from the UK, China and Taiwan.
Why do we need festivals? In the first of two articles about festivals, Holly Payton-Lombardo asks if we simply enjoy coming together to celebrate culture − or is it more than that?
A new wave of artists’ tours encourages us to look differently at the public spaces (like car parks) we see around us. Bill Aitchison explores these new tours.
Maggie Clarke believes that this is a good time for outdoor arts, with investment, partnerships and networks raising the bar and resulting in a raising worldwide profile.
When the Ironbridge Gorge Museum Trust sought a new chief executive it chose someone with a financial background and not a museum one. Paul Gossage explains why.
Gillian Taylor looks at how festivals can involve communities in making site-responsive works that create a sense of pride in lost and forgotten places.
Skilled and experienced in their craft, but with their physicality threatened and changed by time, what does it mean to be an older professional dancer? Stella Lyons has been exploring this question.
Working in partnership with a Ugandan arts organisation has been a fraught experience (an understatement) for Blackpool’s TramShed, but as Zac Hackett and Marge Ainsley report, they are not giving up.
The government’s new primary sports funding will increase dance provision in primary schools. Sally Fort urges dance practitioners and companies to get involved.
Many see zero hours contracts as exploiting workers, but Eleanor Deem points out that the flexibility they offer can prove invaluable in certain circumstances.
Arts Development UK’s latest survey on arts spending in local authorities in England and Wales reveals a "dramatic and changing picture". Pete Bryan and Judy Hughes set out their findings.
Shonagh Manson shares her vision on how the relatively small Jerwood Charitable Foundation can directly support the early careers of contemporary craft makers.
How does an arts organisation tackle change successfully in difficult economic times? Ivan Wadeson summarises his discussions with four leaders on their approach to change and risk.
