Latest reports
Should the arts be doing more to increase diversity? And if so, what? In this first of three reports, Frances Richens looks at the findings from ArtsProfessional's latest Pulse survey, with a focus on diversity in the workplace.
Should more be done to increase the diversity of the UK’s art and artists? And if so, what? In this second of three reports, Frances Richens looks at the findings from ArtsProfessional's latest Pulse survey, with a focus on diversity in artistic work.
Should more be done to increase the diversity of those engaging with the arts in the UK? And if so, what? In her final report, Frances Richens looks at the findings from ArtsProfessional’s latest Pulse survey with a focus on audiences.
Latest features and interviews
Quotas in the arts failed in the 1980s. But now is the time to champion their reintroduction, across workforce and artistic programming, argues Christy Romer in the fifth in a series of articles.
Tired of seeing classical music magazines filled with middle-aged white faces, James Fleury proposes four ‘mental makeovers’ that could help increase diversity in the sector.
The first full year’s worth of data from the Audience Finder survey raises important questions about the inclusivity of arts organisations, reports Anne Torreggiani.
In the fourth of a series of articles, Christy Romer says it’s time for data about workforce, programming and casting to be published openly.
What does the Artistic Director of England’s most highly-funded theatre think about quotas, naming and shaming, and the lack of progress on diversity over the past 20 years? Rufus Norris chats to AP.
We’ve been reading, writing and speaking about diversity in the arts for decades. In the third in a series of articles, Christy Romer says perhaps there’s nothing new to say – but the sector still has to hear it.
Adam Taylor, an organiser of the NewHorizons16 conference on diversity and inclusion, responds to one of the day’s themes: opportunities are not open to everyone in the arts because white, middle-class, middle-aged men stand in the way.
In part two of a series on diversity in the arts, Christy Romer says that labels like ‘diverse’ and ‘BME’ may fail to capture a person’s lived experience - but it would be harder to address inequality without them.
He’s been called Nigerian, Black British and oyinbo, but Inua Ellams just feels normal. He calls for the destruction of ‘othering’ classifications.
In the first in a series of articles based on independent research and interviews with key figures about diversity in the arts, Christy Romer asks: how can we be getting it so wrong when everything seems so right?