Hull, on the long list for UK City of Culture 2017, is already benefiting from the bidding process as it celebrates its quirkiness. Jon Flinn explains all.
Sadler’s Wells Wild Card initiative has not only offered unique opportunities to young artists but has also attracted a new ‘offbeat’ audience. ArtsProfessional finds out more.
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.
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.
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.
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.
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.
A numbers perspective
04 Mar 2013In 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.