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Whether in policy development, advocacy or nurturing talent, Executive Director of Clore Leadership Hilary Carty’s career is born of a passion for arts and culture.
As the U.Dance National Festival returns in an online format this month, Cameron Ball shares how the event connects the nation’s young dancers with the best in the industry.
More than 60 arts professionals are included in this year’s Queen’s Birthday Honours list, the most ethnically diverse to date.
A consultation on plans to cut arts education funding by £17m says the subjects are not a "strategic priority" for the Government.
Moving an orchestra into a school sparked a creative collaboration that can be replicated to benefit students elsewhere, write Anna Bennett and Adrian Bending.
'Decolonising the curriculum' has become a touchstone for educational institutions. But what does this mean in practice? Clare Connor and Lise Uytterhoeven examine the changes ahead.
Staff restructuring proposals that threaten the museum department have been condemned as a "devastatingly bad idea".
Grace Nicol wants to redefine how we make dance to support more risky work. The answer, she thinks, lies in greater pastoral care.
Performers and providers often treat young children as a passive audience. Dr Angela Pickard says they can actively create and engage – and give feedback too.
Slung Low’s Alan Lane, disability champion Andrew Miller and Paul Hamlyn Foundation’s Moira Sinclair are among those receiving awards for their service.
588 more organisations have received Culture Recovery Fund grants in England worth £76m, but information about how many were unsuccessful is no longer being shared.
As schools reopen, the barriers to resuming arts education for disabled children "have been hugely increased".
Dance thrives on physical contact and live audiences, so how can the country’s largest youth dance festival move to an online format? Cameron Ball explains.
The effectiveness of a community dance programme in reducing falls among older people has been praised as “an example of ‘super social-prescribing’.”
We spend too much time trying to learn lessons from cities and apply them in other places, argues Brendan Keaney. It’s time to recognise that creative powerhouses can come in all shapes and sizes – and not always where you might expect.
Joseph Toonga, Artistic Director of Just Us Dance Theatre, looks back on how his career as a choreographer, dancer and teacher has been shaped by the family he grew up with and the family he found.
A new initiative to commission dances with UK galleries will improve the profile and practice of this developing field, its founders say.
The company says its operating model was too “old school” to remain sustainable after the loss of NPO funding in 2018.
The National Institute of Dance Medicine and Science says it is disappointed not to have been consulted about the “accelerated” closure, which is likely to cause delays in rehabilitation.
Moya Maxwell looks back on a career that has taken her from managing live events to running Shobana Jeyasingh Dance.