With local authority funding for culture now more than £236m lower than in 2010, and museums alone having lost £109m in annual funding over the past decade, the Government’s promise of £250m for culture over the next five years will at best put a sticking plaster on a patient with a life-threatening injury. The fact that the promise has been made by an impotent government - one that looks unlikely to get this week’s Queen’s Speech through parliament and could easily be out of office by... more
Truly embracing neurodiversity means being open to a wider spectrum of mindsets as well as setting targets, says Paula Graham-Gazzard.
Jon Adams explains how a Portsmouth-based project aims to become a national hub of excellence led by and for neurodivergent artists.
ArtsProfessional asked people working at the intersection of arts and neurodiversity what changes are needed.
Autism should be seen as a cultural difference rather than an impairment, says Hayley Williams-Hindle.
Far from being a niche concern, increasing the number of accessible shows would benefit millions of people across the UK, says Jess Thom.
Arts Council England’s draft ten-year strategy aims to ensure its own bureaucratic survival and reveals the thinking of an organisation that imagines it is in charge. It is not a strategy for the cultural organisations it is meant to serve, says Robert Hewison.
Andrew Pinnock says City of Culture planners should spend less time making up positive-sounding stories they think they can sell, and more time listening to the people who make culture on their own terms.
Apprenticeship reforms have offered new opportunities for organisations who want to take on a trainee, writes Madeleine Lund. But how realistic are apprenticeships for our most disadvantaged and underserved young people?
Chris Garrard dissects the public comments made by cultural leaders on the issue of ethical sponsorship.
The University of Lincoln's School of Fine and Performing Arts is thought to be unique in employing a professional producer to support students' creative work. Rachel Baynton explains how her role bridges the gap between academia and artistic practice.
Becoming a truly inclusive organisation starts at the top, says Cath Hume.
The popular misconception that price is the chief barrier to access to the arts has taken hold in the sector, while in reality, price is only one of a complex set of factors affecting engagement with ‘hard to reach’ groups. Tim Baker concludes it’s time to start a debate about the true meaning of affordability.
People working in and with rural arts organisations share their views on the sector’s future.
While the number of tax reliefs available to the creative industries has grown, some sectors are missing out by being slow to take advantage of potential savings. Louise Veragoo explains who might be eligible for this free cash.
Restoke anticipated difficulties getting local men to talk about their mental wellbeing – then 170 of them responded to its first casting call. Clare Reynolds explains how co-creation helped create lasting change