Latest Opinion
Culture can’t afford to be a bystander in devolution
England’s devolution revolution is creating the biggest opportunity for culture in a generation. While much of the conversation remains focused on cultural funding, the real opportunity lies elsewhere, says Norwich Theatre’s Ste…
An incomplete devolution agenda: Creative Britain doesn’t end at the M25
CEO of a regional university, Olivier Robert Murphy argues for the strong contribution such institutions make to a thriving region…
What devolution means for the future of arts fundraising
Devolution will change not simply who funds culture but the context in which investment decision are made. But, as Michelle Wright…
If power is moving out of London, arts talent should too
Sarah Hamilton of Newcastle’s SA Performing Arts Centre calls for bold thinking between government, local education providers and…
Boarding the cultural devolution bus? Wear a seatbelt
In the first of our series of articles looking at cultural devolution, cultural policy analyst John Knell thinks there are importa…
What can culture learn from the creative industries?
As Dawn Airey takes over as chair of Arts Council England, and with Margaret Hodge’s proposal for new forms of finance for comme…
City of Culture: Could we all win something?
Mark Dornford-May has experience of being part of a bidding team for City of Culture – one that didn’t win. But he argues that the…
A music industry ‘hard hat’ is a graduation cap
Linda Merrick, principal of the Royal Northern College of Music, argues that specialist higher education institutions are a form o…
Heritage needs new ideas
Jane Marriott has spent 25 years in museums, galleries and heritage. As director of Chatsworth House Trust, she think its time to…
Freelancing isn’t just a way of working, it’s a way of thinking
Samantha Thodhlana is a freelance comms and marketing specialist. As an associate for The Space, she co-leads the Freelance Digita…
Time for a review of specialist performing arts education?
The sector spends much of its time discussing the viability of performing arts education, but remarkably little on its structure,…
Arts marketing: Adopting a ‘developing country lens’
Dimple Meera Jom is a freelance arts marketer originally from Kerala, India. She thinks her background gives her a unique perspect…
Who gets to be in the room?
Rachel Jele is head of advocacy and engagement at Stagetext, the UK’s leading charity for theatre captioning and live subtitling…
The EHRC Code of Practice: How should arts venues respond?
This week sees the EHRC’s new Code of Practice come into force. How will venues respond and what might it mean for trans people?…
Radical financial access: The importance of free programming
Tamsin Ace is director of East Bank, London’s cultural quarter bringing together world-leading arts and educational institutions…
The sector needs Access to Work
Having had her Access to Work allowance reduced and then restored Jenny Sealey, joint CEO and artistic director of Graeae, has bec…
Courageous programming: The limits of institutional inclusion
Dani Abulhawa of the University of Leeds argues that, when it come to Palestine-related work, issues of inclusion are increasingly…
Miscalculating value: The dangerous cost of cutting creative HE
Government’s plan to cut support for creative degrees will have a negative impact on social mobility and innovation, writes Kate…
What the World Cup can teach theatre about building audiences of tomorrow
Football has always understood that participation comes before spectatorship. Suzann McLean of Theatre Peckham thinks the same is…
As Prime Minister, will Andy Burnham be a champion for the arts?
With confirmation that Andy Burnham will become the next Prime Minister, succeeding Keir Starmer on Monday (20 July), many in the…
The next battle for devolution lies in the guidance
Having won the battle for culture to be included in the devolution bill, Steve Mannix of Colchester’s Mercury Theatre and consulta…
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