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Dianne Greig explains how Glasgow’s galleries and museums are collaborating through the WhiteNOISE project to develop the city’s audience for the visual arts.
Donna Meierdiercks tells us from about her career, from Can-Can girl to Dance Producer
Amy Bere tells how Opera North enables the homeless and vulnerable to discover a more independent and positive lifestyle.
The Grodzki Theatre Association has created a website where artists and educators can place films, images and texts of their work with disadvantaged groups. Agnieszka Ginko-Humphries describes how it has evolved.
Hospitals do not have to be about sterile rooms, uncertainty and isolation as Mark Norbury has proved at the Chelsea and Westminster Hospital.
Lisa Ball-Lechgar describes how Abu Dhabi has placed culture as a vital element in its ongoing development and growth.
In the second of three edited extracts from 'Fireworks', his book of provocation essays, Dan Eastmond quantifies a disconnect between the public arts sector and the population.
Almost £1m will be shared by three music organisations as ACE responds to the final wishes of an arts benefactor.
Zoë Briggs describes how her Creating Learning department at the Ambassador Theatre Group is successfully targeting the growing retired audience.
Veronica Franklin Gould of Arts 4 Dementia discusses how partnership projects are benefiting people with dementia by reviving their creative skills and developing new ones.
Paul Cann believes that the longstanding exclusion of older people from the arts will be changing thanks to a new online initiative which promotes everything from projects to resources to jobs.
Familiar arts names join unsung heros in the New Year’s Honours list.
Miles Gregory shares 15 tips on how to turn a troubled arts organisation around with the minimum stress for everyone involved.
What are the issues facing community theatre today? The National Operatic and Dramatic Association can name quite a few of them...
Why do we see the world’s finest contemporary dance companies in our theatres across the UK? Because Dance Consortium has made it possible and viable, says Heather Knight.
How do we put a proper measurable value on creativity and how do we realise that value for the people who have the original ideas? Charlotte Jones seeks some answers.
David Edmunds describes how funding will allow Dep Arts to develop new approaches to increase access to contemporary dance and theatre while programming original and inspiring shows.
Caroline Routh charts her career path through the arts