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.
More than 2,500 PRS licence holders, including some theatres and concert venues, will be affected by the changes, which come into effect next month.
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.
At the very heart of Jasmin Vardimon Company is a dedication to education and nurturing talent. Lauren Baldock explains who benefits and how.
As circus becomes ever more daring and dangerous, Molly Nicholson reveals the challenges of producing it.
UK Music has accused England’s arts funder of being “too posh for pop” and called for an urgent review of the allocation of national portfolio funds.
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 Development UK will wind down in April after attempts to increase membership were unsuccessful, but services may be taken up by other bodies.
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.
British MEP Julie Ward will be the first participant in a scheme that will see politicians help organise exhibitions and sell tickets.
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.
Once a curator, now a producer, Mary Paterson calls for the artist-producer relationship to be re-imagined as something more creative – and less about social media.
Working in prisons is some of the most challenging but rewarding work Dan Boyden does. He offers advice for artists and arts practitioners on getting started.