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A British Council Wales report says that “small adjustments to the current system will not yield the necessary major changes”.
The House of Lords EU Committee says that multi-country, multi-entry visas allowing cultural workers to make short term visits between the UK and the EU would support touring when freedom of movement ends after Brexit.
New funding aims to bring disabled artists into the mainstream of European dance and theatre, and build a network committed to presenting their work.
91 companies and organisations in the UK were supported by Creative Europe last year, receiving 10% of the scheme’s total funds.
In an evidence session examining the success of Hull 2017, the DCMS Committee has heard differing views on how the City of Culture scheme should evolve.
Two new reports say that the festivals also generate international recognition for Scotland’s arts scene and provide new opportunities for Scottish creatives.
Alison Fordham explains how IF: Milton Keynes International Festival’s programme of outdoor events is a key audience development and placemaking tool for the town.
A research project examining Leicester’s 24 arts festivals uncovered interesting insights into audience behaviour and preferences. Richard Fletcher discusses the findings.
Keen to maintain a connection between Wales and Germany after Brexit, British Council Wales organised a week-long performing arts festival in Dresden. Rebecca Gould tells the story.
How can we make the arts an everyday experience for everyone? Michael Eades explains why he believes in the power of grassroots arts.
Open House arts festival took a risk when it moved from Belfast to Bangor in Northern Ireland, but one that is paying off now that it’s making a difference again. Colette Fahy tells the story.
Volunteering in the arts should be an enriching experience, says Cathryn Peach. She shares five tips for designing programmes that motivate, empower and inspire volunteers.
Andrew Miller, a regular visitor to the Edinburgh Festival Fringe, shares his shocking experiences of inaccessible venues, poor seats and the city’s precarious pavements.
Some fringe festival productions win international touring contracts, but far too many lose out financially. Jessica Cheetham discusses a model that is offering affordable opportunities for artists.
Money for cultural content and skills development will be delivered across a five-year programme, starting in 2018.
MP Tommy Sheppard has echoed calls by a new union-led campaign for fair wages and working conditions at the Fringe festival.
How can festivals promote a zero-tolerance approach to crime, including sexual assault, and what can be done if incidents do occur? Renae Brown shares some advice.
Programming both Cantonese and western opera, the Hong Kong Arts Festival has a challenge when it comes to audience development. Tisa Ho shares her strategy.
Scotland’s year-round programme of cultural events attracts huge numbers of international visitors, but it takes careful strategic planning and continuous improvement, says Stuart Turner.
How do fringe festivals ensure quality when anyone can choose to stage an event? Cath Mattos reveals her approach at the Wandsworth Arts Fringe.