Panto, ballet and nativity plays are standard Christmas fare in the UK, but what are they enjoying in other European countries? Alex Bryne has been finding out.
Working with some of the best French contemporary circus companies has raised the bar for our own version of the artform, says Gavin Stride in conversation with Catherine Love.
International touring has given Motionhouse greater confidence and is a crucial element in the company's plans for the future. Louise Richards explains why she plans ahead - and is ready for surprises.
Applying for Creative Europe funding for a Cooperation Project requires real commitment and many hours devoted to completing the application form, warns Lorraine von Gehlen.
Having worked in children’s arts and health in a London hospital, Victoria Jones, now in Melbourne in Australia, compares the respective creative programmes.
As one of the oldest cultural networks in Europe, the European Festivals Association’s mission has always been centred around artistic quality and long-term impact, says Kathrin Deventer.
A huge vocal work is premiered this weekend in Birmingham, followed by performances in Berlin and London. Stephen Newbould describes how it has come together.
Mark Hewitt couldn’t believe his luck when he received funding from the Artists’ International Development Fund to collaborate with a foreign musician of his choice.
Part of the Brighton Festival, 'caravan showcase' presents contemporary English theatre to international programmers. Catherine Love explains how English theatre companies can benefit from the showcase and other year-round activities.
Lucas Stewart reports on the difficulties involved in ‘Hidden Words, Hidden Worlds’, a British Council project in Burma seeking to develop ethnic minority language literature.
A new gallery for visiting international artists has recently opened in a terraced house in South Shields in the north east of England. Padma Rao tells the story.
Chris Bannerman tells how he reluctantly became a key driver in a complex collaboration involving choreographers, dancers and academics from the UK, China and Taiwan.
Working in partnership with a Ugandan arts organisation has been a fraught experience (an understatement) for Blackpool’s TramShed, but as Zac Hackett and Marge Ainsley report, they are not giving up.
Mark Fisher charts the global success of ‘Made in Scotland’, the programme which showcases dance and theatre companies at the Edinburgh Festival Fringe.
