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1,000 older people will benefit from the extension of a ‘Dance to Health’ programme involving arts partners including Yorkshire Dance and Birmingham Royal Ballet.
Digital platforms enhance audience engagement in museums and galleries but can the same be done in the performing arts? Ben Walmsley discusses a research project in contemporary dance.
Election candidates are being asked to recognise and campaign to mitigate the strains facing the dance sector.
As she prepares to step down from the company she founded over 30 years ago, Avril Hitman reflects on her career at the forefront of inclusive dance.
Hip hop theatre choreographers are too often seen as outreach workers rather than artists, but a new initiative is trying to change that. Lee Griffiths explains how.
After co-founding a successful dance company, Francesca Moseley reflects on her career as a producer, the support she has received and what it’s like to work freelance.
After updating its approach to data collection and sharing, Sadler’s Wells noticed a surge in email sign-ups for its visiting companies. Sebastian Cheswright Cater and Matt Kirby tell the story.
Many international dance companies tour the UK thanks to the Dance Consortium, but venues, young dancers and many others also benefit from its work. Ros Robins explains how.
A strategic collaboration between One Dance UK and People Dancing will focus first on encouraging primary schools to spend more on high quality dance.
An outdoor performance project featuring blind and visually impaired dancers and musicians has pulled passers-by into a world of ‘sonic vision’. Isabel Jones shares the effects on performers and audiences.
The new Executive Director of Protein Dance, Franck Bordese, looks back on his career championing cross-artforms and engagement work.
Aesop’s falls-prevention classes were both an enjoyable artistic challenge and faithful to their healthcare objectives.
Kevin Edward Turner talks through the stages of his choreographic process for Company Chameleon’s latest work, which explores his own mental health.
As a small company with no permanent dancers, Shobana Jeyasingh Dance productions are tricky to coordinate but ultimately rewarding. Amanda Skoog explains how they manage it.
What’s behind the current rise in interest in dance for older people? Hannah Osmond has been finding out.
The Royal Ballet has committed to sharing its expertise in caring for dancers by partnering with the National Institute of Dance Medicine and Science.
As he leaves DanceXchange, David Massingham reflects on his journey from distributing Christmas hampers to establishing Birmingham as an international dance city.
How do you get a room full of sniggering teenage boys enthusiastic about dance? Helen Ganberg says it’s not easy, but experience shows it is possible.
An assessment of the affordability, accessibility and spread of dance facilities across London comes ahead of a wider plan for culture in the city.
When member benefits proved uneconomical, Northern Ballet decided to stop offering them. Crys Whitewoods explains how the decision is paying off.