In the first in a series profiling the shortlisted candidates for UK City of Culture 2025, Alison Clark introduces the county whose bid is inspired by the Durham Miners Association.
About Us* is a dazzling free show combining projection mapping, animation, music and poetry. At its heart, says Maggie Aderin-Pocock, is a simple message: we are all connected.
What happens when creative minds from different sectors and disciplines come together to imagine and design bold, large-scale events to reach millions of people worldwide? Martin Green reveals what’s in store for 2022.
While audiences are most comfortable returning to outdoor events, organising a festival that can flex around ever-changing restrictions is still no mean feat. Penny Mills and Jonathan Goodacre have been looking at what’s working.
Despite all the difficulties of the past year, Jake Bartle and Emily Coleman are confident that this year’s festival will be a celebration of artistic achievement.
Among the thousands of art lovers that flocked to the Edinburgh Festival last month was a British Council delegation of global creative tastemakers who are working to build international connections. Alex Lalak met one of them from China.
There has been a lot of talk about the future of UK arts funding over the summer. Fran Sanderson has been assessing various funding streams to find ways to maximise their impact.
Anyone involved in marketing, or creating websites or digital products will know the phrase ‘You are not your customer’. Katie Moffatt shares how user-centred research can help you avoid making assumptions.
Arts and cultural marketers are inspirational. Despite the challenges organisations are facing, they remain optimistic and passionate about bringing art and audiences together, says Cath Hume.
Cross-sector partnerships - regardless of scale - are complex. As Evelyn Wilson writes, they need time, financial resource, proactive caring and ethical handling, not to mention the odd leap of faith.
The Edinburgh Fringe can be an intense, overwhelming experience. It’s the heart of thousands of artists’ performance calendars but, as Bryony Nisbet shares, it can play havoc with your mental health.
A new government means new strategies. But if they are to respond truly to what’s required at the local level, it’s up to the sector to make itself heard, says Jason Jones-Hall.
As arts companies look internationally for new partnerships and audiences, Alex Lalak explores potential concerns about copyright protection when taking your work to China.
A new book by the late Richard Pilbrow explores how the National Theatre came about and how it laid the groundwork for future theatres. Rob Halliday is its co-Editor.
Following their collaboration on a groundbreaking project, Sarah Bailey, Kate Houlton and Danielle Lewis-Egonu reflect on how a socially engaged approach to arts education can create new ways of working in schools.
The Space has convened an Accessibility Working Group to support the sector to work in more inclusive and accessible ways. One of its first outputs has been to provide a pool of knowledge on best practice in digital accessibility, as Harmeet Chagger-Khan explains.
The arts bring moments of creativity, joy and imagination, but what do they mean to the lives of children and young people, families and communities? asks Dienka Hines.
