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Showing all Performing Arts news in Opinions & Analysis
University of Sydney’s David Larkin asks, is Beethoven at risk of overexposure?
Opinions & Analysis
From the 2020 ISPA Congress in New York City, Circa's Yaron Lifschitz discusses the urgency of empathy and art as a force for good.
Spoken word artist Miles Merrill and teacher Narcisa Nozica know how to stand up in front of a crowd. In their new book, Slam Your Poetry, they look at how to present yourself with true stage presence.
Has the internet damaged arts criticism beyond repair? In her new Platform Paper, Alison Croggon argues that the web has oversimplified cultural discussion and chased clicks over critiques.
Far from political correctness being the arch enemy of comedy, comedian and beloved rabblerouser Tim Ferguson believes that neither could exist without the other.
Addressing the climate emergency and improving relationships with Indigenous Australians and Pacific Islanders means building people-to-people exchange, according to our new British High Commissioner.
When actor Neil Pigot found himself diagnosed with depression he denied the diagnosis and tried to go on. With that ‘regrettable decision’ he prolonged his recovery and made it harder to find a way out.
Arts and wellness educator Molly W. Schenck talks about how to have tough conversations in art without traumatising collaborators.
Being an ally means being prepared to do the difficult work towards structural change.
Looking for bigger audiences and permanence for dance experiences led Sue Healey to film as a way of capturing the experience.
Fight director, actor, critic and dramaturge Dr Danielle Rosvally starts all her theatre students off with one simple lesson which begins with critical skills in the car park.
In her 2018 Philip Parsons Memorial Lecture, playwright Alana Valentine speaks about the power of the collective experience and those rare moments when a work of art becomes a conduit for spontaneous community expression.
NAVA’s Esther Anatolitis turns to UNESCO and Canadian legislation with the Status of the Artist Act as a guiding model for Australia.
Artists do their best work when they feel confident to play, when they feel they are not being judged, when they are spoken to with respect.
If #MeToo has taught us anything, it’s that telling better women’s stories hasn’t really changed the lived experience of women, because it hasn’t really changed men.
In times of challenge, organisations in different sectors can teach the arts valuable lessons about streamlining and sticking with what we're good at.
This week the first ever awards to celebrate the rural touring sector in the UK will take place in Nottingham.
The assumptions that makes amateur theatre an old joke are really a power play that creates a fall guy for culturally privileged professionals.
We need to rethink our physical spaces to create meaningful live experiences for the constantly connected generation.
Perhaps you’re not ready to have the intersectionality conversation with your Trump-supporting uncle. But you could share a theatre that bridges the gap.
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