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Forty years since the publication of Naseem Khan’s seminal report The Arts Britain Ignores, how much has changed?
Tells the story of the theatre blogosphere from the dawn of the carefully crafted longform post to today’s digital newsletters and social media threads.
A toolkit with a mission to look to the future: to support long-term change across the arts sector by sharing knowledge, providing expert support, and encouraging take-up of an intersectional approach to equality, diversity and inclusion.
Part of The Library of Performing Rights (P3041).
Publication on the Summer School delivered by Create (Dublin) and Counterpoints Arts (London).
The first anthology to chronicle the global critical reception of Aboriginal Art since the early 1980s, when the art world began to understand it as contemporary art.
Part of Library of Performing Rights (P3041)
Shows why cognitive injustice underlies all other dimensions; global social justice is not possible without global cognitive justice.
Berlin is once more capital of queer arts and tourism. Queerness is more visible today than it has been for decades, but at what cost? This book argues that queer subjects have become a lovely sight only through being cast in the shadow of the new folk devil, the ‘homophobic migrant’ who is rendered by society as hateful, homophobic and disposable.
Part of the Library of Performing Rights (P3041)
Shows how feminist theory is generated from everyday life and the ordinary experiences of being a feminist at home and at work.
Short programme of the project which saw 2DL invite other artists into a conversation on identity.
Intended to help cultural organisations and their governing bodies meet ethical and reputational challenges with a greater sense of confidence, this report stems from a What Next? discussion about the difficult situations organisations can find themselves in when an action sparks controversy, for example, the presentation of a divisive piece of work, or a contentious sponsorship deal.
Explores the development of South Asian dance and the changing priorities it has been given by funding agencies.