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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.
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.