In the wake of budget cuts, local arts groups in Birmingham have come together to help shape a new democratic approach to culture in the city, says Tom Jones.
How can we attract a diverse workforce into the arts sector? Robert West says arts organisations can start by dismantling the barriers they are putting up themselves.
Charlotte Arrowsmith, who is performing in two plays with the RSC this summer, explains the challenges and opportunities involved when deaf actors are cast in mainstream productions.
The casting of deaf actor Charlotte Arrowsmith in a current RSC production illustrates how committing to diversity does not mean being worthy or boring, says Jonathan Knott.
The ArtsPay 2018 survey has provided the opportunity for the realities of earnings in the arts & cultural sector to be better understood. This final report and associated analysis, together with commentary by the ArtsProfessional team and others, all contribute to a much clearer picture of the state of pay in 2018.
As low- or no-pay practices continue to dominate the arts and cultural sector, some enlightened employers are starting to reap the benefits of offering a fairer deal to all staff. Jonathan Knott reflects on the findings of the ArtsPay 2018 survey – and the efforts of those challenging the status quo.
Financial insecurity plagues the working lives of cultural workers, with the self-employed and freelancers worst affected. But solutions are to be found, so it’s time for the UK to take decisive action, says Clara Paillard.
Charlotte Bence looks back on how the trade union Equity has fought low paid and unpaid work in the entertainment industries since 2014 – and its plans to extend its campaign in the future.
Women are being penalised for part-time working in the arts and cultural sector, earning full-time equivalent salaries that fall significantly short of those paid to people working full-time.
Over 25 years the role of cultural marketers has expanded, but the focus remains on audience relationships. Cath Hume examines the changes and challenges.
Creative Access, set up in 2012, has placed hundreds of candidates from under-represented backgrounds with organisations including the National Theatre, Tate and Leeds Playhouse.
Opening up decision-making about what art gets made and by whom doesn't lead to people 'playing it safe', but to programmes that engage more people, more deeply. Tamsin Curror examines the evidence.
A welcome surprise of five-year funding provided the opportunity for Cardiff's Sherman Theatre to diversify its audiences, boost volunteering and develop a relationship with a time credit network. Julia Barry tells the story.
Little has changed in the ten years since John Holden first shone a spotlight on the damaging disconnect between the arts sector and the public at large. Could the mass realisation of personal creativity provide a way forward?
Support for new parents in the arts sector is often lacking. Rachel Harper explains how a new show has introduced a range of measures to create a less stressful, more inclusive working environment.
Encouraging signs
The casting of deaf actor Charlotte Arrowsmith in a current RSC production illustrates how committing to diversity does not mean being worthy or boring, says Jonathan Knott.