Monday, 05 March 2018
What should cultural organisations do with money offered to them by people who have different – perhaps controversial – beliefs, asks Ginia Bellafante.
Thursday, 01 March 2018
Why do researchers have so many competing definitions of creativity, and how should it be measured? Isaac Kaplan weighs in.
Wednesday, 28 February 2018
What do young people get out of trips to galleries, theatres and concert halls? And do these visits impact on maths and reading scores? Jay P Greene shares the results of recent research.
Tuesday, 27 February 2018
Michele Hanson defends a care home’s controversial decision to invite pole dancers to perform for its residents, arguing not all older people want to fill their time with bingo, singalongs and arts and crafts.
Proposals to make studying arts degrees cheaper than studying science undermine fundamental cross-sector collaboration, argues Bashir Makhoul.
David Massey explains how Welsh National Opera has experimented with virtual reality and other technologies to reach new audiences.
Monday, 26 February 2018
Despite our prejudices, traditional and craft-based culture can engage people in the urgent issues of contemporary life, writes Francois Matarasso.
Friday, 23 February 2018
Southampton’s Studio 144, the new home for Nuffield theatre and John Hansard Gallery, is a lacklustre building that proves the public sector has an overreliance on the profit-driven private sector, argues Oliver Wainwright.
Rejecting religion has made classical music sterile, argues George Corbett. Which is why the University of St Andrews is using ‘theologically informed programming’ to open up the next generation of composers to the creative power of Christianity.
Thursday, 22 February 2018
Theatre maker Daniel Bye explains it only takes one bit of bad luck – an injury, a failed funding bid, or even a breakup – to knock a successful freelance career into serious financial trouble.
What are the political, ethical, artistic, and health and safety implications of encouraging audience participation on stage? Before Shakespeare analyses the new production of Julius Caesar at the Bridge Theatre.
Can forcing children to learn to play instruments destroy their love of music, asks Hattie Garlick.
Friday, 16 February 2018
Chris Bannerman asks what the UK’s departure from the European Union will mean for dance, if open borders are no longer a given.
Tuesday, 13 February 2018
Arc Stockton’s version of the ‘Agent for Change’ model, in which a diversity champion is employed to make an organisation more inclusive, has led to over 300 participatory events taking place at the venue, writes Joe Turnbull.
Monday, 12 February 2018
Ian Youngs meets a 71-year-old first-time playwright who is involved in the UK’s first festival of theatre and dementia, held at the West Yorkshire Playhouse.
A degree in violin performance was the perfect complement for Dr David John Yeh’s second degree in neuroscience. Dianna Skinner meets a surgeon shaped and empowered by music.
There’s a rising mental health crisis facing young people. Rachel Parsons, Project Manager at music education charity More Music, introduces new research examining how arts practitioners can best offer their support.
Friday, 09 February 2018
The Government’s support for the Agent of Change planning principle is to be celebrated, but a business rates hike is threatening music venues across the country and must be urgently addressed, argues the Music Venue Trust.
Young entrepreneur Bejay Mulenga describes how getting involved in the arts as a teenager turned him into a doer.
Thursday, 08 February 2018
After working alongside Gateshead-based theatre company The Lawnmowers, Francois Matarasso asks whether the benefits of participatory art end with the participants.