Monday, 18 December 2017
As arts institutions race to disentangle themselves from people who have been accused of inappropriate behaviour, they continue to harbour and protect leaders who egregiously abuse their power, claims Anne Midgette.
Johanna Thomas-Corr asks if the trend for theatre directors to take inspiration from film and TV is proof of a lack of originality, or a new way of looking at stories.
Virtual reality and techy exhibits seem cool, but the key to attracting visitors is to improve offsite technology, such as social media and ticketing platforms, says Colleen Dilenschneider.
Thursday, 14 December 2017
Dancers spend their whole lives perfecting their physical fitness and strength, so why do so many risk harming their bodies with alcohol and drugs, asks Kristin Schwab.
Wednesday, 13 December 2017
When it comes to the City of Culture competition, we must not let stats like the £1bn boost to Hull’s economy drown out concerns about who this money benefits, warns Mark Ball.
Monday, 11 December 2017
Following the recent European Capital of Culture ruling, we should not dismiss Milton Keynes’ cultural ambitions simply because it is upfront about the overlap between economy and culture, argue Liz McFall and Darren Umney.
In 2015 the publishing industry was outed as intransigently white, middle-class and male. New diversity strategies have been implemented, but how much has really changed, asks Arifa Akbar.
Friday, 08 December 2017
Vincent Dowd asks what Coventry’s success in the City of Culture competition could mean for the city, formerly renowned for “permanent, grimy decline”.
Following the Metropolitan Museum of Art’s decision to ignore a petition to remove a painting reportedly “romanticizing the sexualization of a child”, Jonathan Jones argues it is right to debate art, but fascist to try and censor it.
Thursday, 07 December 2017
In 2008, Sergey Korsakov created a new country out of cardboard as a community for artists. ‘Cardboardia’ now has permanent embassies in Russia and the UK and regularly hosts creative events in community festivals around the world. Daria Stenina explores attempts to build a society powered by art, not money, oil or political issues.
Acting students need support to separate themselves from their roles, as failing to do so results in emotional hangovers, extreme moods and difficulties in their personal lives, argues Leith Taylor.
NOTAFLOF (No One Turned Away For a Lack Of Funds) is a ticketing trend sweeping Australia in which punters can buy tickets for others who cannot afford them. Meg Elkins and Bronwyn Coate assess the potential impact on the sector.
Wednesday, 06 December 2017
Following revelations that the Sackler family – a major donor to arts institutions including the V&A – has strong links to a highly addictive painkiller commonly involved in overdose deaths, Colin Moynihan asks if museums and galleries should begin vetting donors.
Tuesday, 05 December 2017
The staging of hit Broadway show Hamilton in the UK, against the backdrop of Brexit, is a landmark moment that reminds us of the roots of British musical theatre in political activism, argues Claudine van Hensbergen.
Monday, 04 December 2017
Nadja Sayej profiles composer David Lang, whose 'Symphony for a Broken Orchestra’ will be played by 400 musicians using broken instruments sourced from an American school district, intended to raise awareness about the lack of budget for musical education.
Friday, 01 December 2017
Emmanuel Macron should think again before copying the UK and introducing a lottery draw dedicated to supporting heritage, argues Robert Hewison.
Wednesday, 29 November 2017
Mia McCullogh suggests the reason why only 10% of Americans go to the theatre is because they’re turned off the artform after being shown only ‘classical theatre’, such as Shakespeare, at school.
ArtsHub relays five key pieces of advice for theatre makers working with marginalised communities, including ‘not being the boss’ and ‘expecting problems’, from a new report by European network Theatron.
Monday, 27 November 2017
Rijeka, the Croatian port city set to become European Capital of Culture in 2020, is juggling ambitious revitalisation plans and rising nationalism, writes Barbara Surk.
We must look beyond the political finger pointing and ensure the hard work done by the five UK cities bidding to become European Capital of Culture is rewarded with a version of the competition in 2023, stresses Beatriz Garcia, who sits on the programme’s selection panel.