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As an arts festival with an explicit social change mission, Refugee Week faces some unique challenges. Emily Churchill Zaraa discusses how it tackles them head on.
Art can ask difficult questions and help people engage with complex topics. With conflict and political divisions spreading across the globe, it’s vital arts producers find new ways to bring people together, says Daniel Gorman.
Autism and dyslexia have long been associated with creativity, but is the arts sector doing enough to support neurodivergent artists? Susan Jones highlights some concerns and opportunities.
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.
How can we make sure that authors are paid fairly in times of technological change? Luke Alcott discusses the steps that are being taken to protect their rights.
What factors prevent disabled or marginalised adults from participating in the arts? Susan Potter shares Creative Future’s research findings and the impact they have had.
What are the dynamics when a group of artists with and without learning disabilities work together? Emma Bosworth discusses the positive outcomes of the OutsiderXchanges project.
Damning research has woken Australia up to the situation for indigenous artists in the country. It’s time for their voices to be heard, says Jacob Boehme.
The work that artists do in education, health and social care settings has long been undervalued, but Nick Ponsillo is hopeful that changes are on their way.
A new diversity programme will shift power and resources to where they can be most effective. Dawn Walton explains the thinking behind Eclipse Theatre’s new artist development initiative.
The Royal Ballet has committed to sharing its expertise in caring for dancers by partnering with the National Institute of Dance Medicine and Science.
The Orchestra of the Swan has found a formula for boldly commissioning new works that pleases both composers and audiences. David Curtis explains his approach.
Revitalising derelict railway buildings could provide a solution to the shortage of studio and creative workspace in the East of England, explains Natalie Pace.
Known for its alternative learning programmes, this year Wysing Arts explored the term ‘polytechnic’ by re-visiting the experimental art practices of the 1970s. Donna Lynas reports on the results.
Working in a professional dance house helps dance students in Derby prepare for life after university, writes Clare Limb.
The multi-million pound reboot of the Lighthouse in Poole is only the beginning of its journey towards an inclusive participatory future, says Stephen Wrentmore.
A consortium of Scotland’s universities and art schools place researchers within arts and cultural organisations. Anna Scott discusses the benefits to all involved.
How you ever asked yourself, “why am I frustrated and stuck in my career”? Performance coach Sally Arnold has some top tips to get things back on track.
The University of Bradford may be a technology university with no arts department, but it still saw the need for a theatre on its campus. Javaad Alipoor explains why.