Many artists find it difficult to sustain their practice early on in their careers. Nicola Sim shares the findings of her research into how arts organisations and funders can best support them.
Exeter’s Spacex has marked its demise by publishing a satirical conversation around the imbalance of power between those in- and outside ACE’s regularly funded network.
Has music become too pigeon-holed into distinct genres? Tony Haynes asks how we can truly promote cultural diversity when the opportunities for creativity are so restricted.
Artists need special skills to deliver projects in community settings, including care homes and schools. Evan Dawson explains how Live Music Now supports musicians.
Artists from across Europe describe what it’s like to work in their country of origin – from the almost desperate situation for some freelance artists in Spain to the generous support on offer in Arctic Norway.
Artists, producers and curators must have at least three years’ experience to apply to the new fund, but will not have to secure match funding or deliver public engagement outcomes.
Artists deserve support to conduct research and development as much as any other valued professional. Lauren Healey explains how a scheme for emerging filmmakers is having a lasting impact.
Music and dance leaders have implored a Lords select committee to support the introduction of a special arrangement within the visa system for performers.
Arts organisations have worked quietly behind prison walls for decades, but recent government endorsement and high-profile partnerships are helping them gain some recognition, says Dora Dixon.
Raquel Meseguer triggered a security alert when she lay on the floor at the Southbank Centre. She shares the work she has been doing ever since to help arts venues become more welcoming to those with chronic pain.
Frank Lyons explains how a combined academic and artistic approach has been key to the success of a new ensemble featuring disabled and non-disabled musicians.
A commitment to empowering young people has led Battersea Arts Centre and Manchester’s Contact theatre to get involved in board game design, bicycle maintenance and community fishing. Liz Moreton and Suzie Henderson tell the story.
Urban music is an economic success story, but music education is not serving the young creators of this work, many of whom come from diverse and working-class backgrounds, warns Pamela McCormick.
