2026 Arts Education Data Reveals Deepening Inequality Crisis
A newly released report commissioned by Cultural Learning Alliance (CLA) and Royal Shakespeare Company reveals a growing crisis in the UK’s arts education

Royal Shakespeare Company in Stratford-upon-Avon. Courtesy Royal Shakespeare Company/ PA Media
New research has revealed a growing crisis in the UK’s arts education and a widening disparity between private and public provision.
The report, Cultural Learning Alliance (CLA) 2026 Report Card, commissioned by the CLA and Royal Shakespeare Company, finds that the nation’s ‘arts entitlement gap’ (an access barrier for those from disadvantaged backgrounds) begins as early as primary education.
47% of independent school primary teachers report having more than two and a half hours of arts scheduled per week. In comparison, only 6% of state school primary teachers say the same.
The report also asserts that factors such as ethnicity, geography, socioeconomic status, Special Education Needs and Disabilities affect whether a young person chooses to study arts subjects.
The West Midlands and the North East have both the highest number of pupils eligible for free school meals and the lowest number of arts GCSE Students. Black and Asian pupils are under-represented in every arts A Level, and students with Special Educational Needs and Disabilities are under-represented in most arts GCSEs.
As an entirety, the data paints a picture of stark inequalities within the UK’s arts education. The report is published alongside a phase of significant educational reform, including the writing of a new curriculum (to be implemented in autumn 2028) and governmental ambitions to enable all students to access the arts.
Related content
Brussels-Based Gallery Dépendance Closes
Elfie Semotan, Austrian Fashion Photographer, 1941–2026
16th Gwangju Biennale Participating Artists Announced
News

Brussels-Based Gallery Dépendance Closes
Dépendance, a Brussels-based gallery known for its adventurous programme of conceptually considered artists, has closed after 23 years of operations

Elfie Semotan, Austrian Fashion Photographer, 1941–2026
Semotan was best known for her work with Helmut Lang, who she worked with for over two decades on collections and runway shows

Philippe Vergne Appointed Chief Curator of The Bass in Miami
Vergne has been director of the Museu Serralves in Porto since 2019, and will take up his new position in the US in October

Tone Hansen Appointed Director of Moderna Museet
The appointment marks the end of Hansen’s time as the Director of MUNCH, Norway

Kulapan Yantrasast Appointed as Artistic Director of 2027 Bukhara Biennial
The 2027 Bukhara Biennial will be directed by architect and designer Kulapan Yantrasast, who will take over from the biennial’s previous artistic director, Diana Campbell

Cecilia Alemani to Curate 2027 Edition of the Taipei Art Biennial
Alemani previously curated the 59th Venice Biennale in 2022, and is currently the director and chief curator of the public arts programme High Line Art

Open Letter Calls for End of Centre Pompidou Hanwha Partnership
The letter, published on 27 May, criticises Hanwha’s involvement ‘in the arms industry linked to the Palestinian genocide’
.jpg%3F2026-06-03T13%3A03%3A07.507Z&w=3840&q=100)
37th Bienal de São Paulo Announces Curatorial Team
The Fundação Bienal de São Paulo has announced the curatorial team for its 37th edition, opening in September 2027

Julio Le Parc, Op Art and Kinetic Artist, 1928–2026
The artist’s passing occurs just weeks before a major immersive exhibition spanning seven decades of his career is due to open at Tate Modern, London, on 11 June

Stedelijk Museum Amsterdam Presents Major Yayoi Kusama Retrospective
The exhibition will cover more than seven decades of work by the Japanese artist, spanning childhood experimentation to her iconic Infinity Mirror Rooms

Lucia Pietroiusti and Filipa Ramos Announced as ‘Convenors’ for 2028 Bergen Assembly
The Bergen Assembly describes itself as an ‘exploratory platform for art’ structured around ‘convenings’ rather than a single curatorial concept and biennial format
