Jump to navigation
He’s been called Nigerian, Black British and oyinbo, but Inua Ellams just feels normal. He calls for the destruction of ‘othering’ classifications.
Will Jeremy Corbyn’s promise to “restore” Grant in Aid to the arts councils help reinforce Labour’s reputation as a supporter of the arts? Liz Hill has her doubts.
The Northern Powerhouse plans may be turning Manchester into a cultural tour de force, but it will be a force that benefits the whole sector, argues Dave Moutrey.
Following revelations that BP influenced curatorial decisions at the British Museum, Chris Garrard examines how arts organisations should be navigating the tricky ethical territory of sponsorship.
The EBacc debate in Westminster prompts Patrycja Kaszynska to reflect on the role of the arts as a force for political and civic engagement.
Astounded by the sexist remarks she received while touring a theatre production with an all-female crew, Sarah Brown tries to make sense of it.
Twenty-five years after writing an article about his concern for ‘the future of black arts’, David Bryan considers whether progress has been made and looks to the future.
A yes/no referendum on museum free entry would be a terrible idea, so why did the Government think it was an acceptable way of deciding whether we stay in or leave the EU, asks Liz Hill.
Achieving greater diversity in the arts isn’t rocket science, says Ammo Talwar, but it is time for big actions.
Too many cultural conferences borrow their model from the corporate sector, but there is another way, says Adrian Lochhead.
After being met by a sea of white faces at a recent industry event, Rebbecca Hemmings says it’s time for Birmingham’s arts sector to face up to its diversity crisis.
Following shocking access at the Theatre 2016 conference, Andrew Miller asks: is this why so few disabled people work in theatre?
Mhora Samuel responds to Angus MacKechnie’s call for theatres to be shared with the communities that surround them.
Robin Simpson responds to Liz Hill’s call for a new approach to audience development in the arts.
As Sport England celebrates the impact of its ‘This Girl Can’ advertising campaign, is it time for the arts to come up with a new approach to audience development? Liz Hill examines the evidence.
ArtsProfessional’s recent revelations about Culture Counts and Quality Metrics prompt Richard Fletcher to question how we manage information in the arts. Is it time to speak up about what we want and need?
Institutional favouritism lies at the heart of Arts Council England’s funding framework, and ACE does itself no favours by trying to defend the indefensible, says Liz Hill.
David Stevenson deplores the way that a subjective decision to grant public money to a commercial company is being dressed up as the evidence-based decision of an objective funding system.
Allegations that Liverpool's Everyman & Playhouse Theatre are failing to embrace the local community couldn't be further from the mark, says Rebecca Ross-Williams.
Adrian Moule welcomes a report that encourages the UK's arts councils to offer loans.