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Bespoke segmentation modelling helps Sadler’s Wells talk to its audiences with personalised precision across venues and genres. Sebastian Cheswright Cater explains how.
At the very heart of Jasmin Vardimon Company is a dedication to education and nurturing talent. Lauren Baldock explains who benefits and how.
The previous Director of Dance UK has returned to the country after a stint working for Orlando Ballet in Florida.
Mira Kaushik reveals how an introduction to experimental Indian street theatre in the 1970s and conversations with a vagrant bohemian wanderer shaped her career.
A barefoot dancer and a 90-year-old juggler: Sean Gandini reveals the people who have shaped him and his career.
Music and dance leaders have implored a Lords select committee to support the introduction of a special arrangement within the visa system for performers.
New research found audiences in rural Lincolnshire are hungry for culturally diverse theatre and dance, but the provision isn’t there. Arya Madhavan and Sreenath Nair explore the issues.
Do you have any advice for Vicky Rodríguez-Altuna, who wants to take her successful flamenco show around the UK but is struggling to raise the necessary funding?
In the lead-up to the opening of new venues in Hong Kong’s West Kowloon Cultural District, Anna CY Chan is embracing technology to broaden dance audiences and develop future talent.
How did Sadler’s Wells manage to increase its membership and ticket sales while cutting discounts and other incentives? Sebastian Cheswright Cater shares the secrets of their success.
After almost a decade guiding others at the Clore Leadership Programme, Sue Hoyle reflects on those that have influenced her career.
Dance development agency Pavilion Dance South West will co-ordinate ‘Surf the Wave’, a programme of talent development and artist support leading up to a showcase in May 2019.
The project marks a change in strategy for funder Sport England, which had signalled its willingness to consider how dance could tackle inactivity.
Birmingham Royal Ballet’s David Bintley remembers Frederick Ashton and others who have shaped and guided his career.
Scottish Ballet’s first digital season gave the company the opportunity to experiment with new technologies, but would audiences like it? Charlotte Gross tells the story.
Although the new portfolio will contain seven more dance organisations, three regional dance development agencies have lost funding.
Why do boys tend to give up dance classes when they reach their teens? Kate Laho and Natalie Holasz discuss the findings of a recent survey conducted by The Place.
A European Union-funded dance project won ‘success story’ status from a panel of experts for its impact, creative approach and the inspiration it gave others. Carole Blade tells the story.
Producer Patrick Collier names the inspiring, perceptive and – occasionally – annoying people who have guided his working life.
When choreographing a new contemporary dance work for young people, Rosie Kay committed to really listening to their concerns and beliefs – and it took the work in a surprising new direction.