What Do the UK’s Latest Welfare Reforms Mean For Real Inclusion?

In March 2025, something unsettling was unfolding here in the UK: the release of the Pathways to Work: Reforming Benefits and Support to Get Britain Working Green Paper. 

For those unfamiliar, this Green Paper sets out major reforms to disability-related benefits, especially Personal Independence Payment (PIP). On the surface, it claims to support independent living and employment. But what’s troubling is how it’s being introduced:

  • 12 out of 28 proposals are not open to public consultation.

  • Disabled people have not been meaningfully involved in shaping the proposals.

  • Case workers are already making cuts to support—before the policy has even been enacted, putting the barriers back in place by cutting schemes like PIP and Access to Work.


The Dash Arts Decode Report (May 2025) presents clear evidence that this is already happening, undermining the very foundation built by decades of work toward a more inclusive cultural landscape. And it sends a clear message: disabled people are not trusted to be part of decisions that affect their lives, neither are they part of the workforce. A lovely message to be sent from the party that calls itself the party of working people. 

Artists like Jess Thom (Touretteshero) have spoken publicly about the impact of this policy, not just on their livelihoods, but on their ability to participate safely and confidently in public life. The fear and uncertainty this Green Paper creates is already leading some disabled artists to consider stepping back from their work.

And the damage is not distributed evenly. Manchester, where Something To Aim For is based, is one of the areas set to be disproportionately affected. For a city with a radical history of disability rights and a thriving disabled-led cultural scene, this is devastating.

The UK has, up until now, long been a pioneer in developing and promoting the social model of disability, which shifts the focus from individual impairments to structural, attitudinal, and environmental barriers. This model has deeply shaped how the creative and disability sectors approach access and inclusion.

Generations of disabled advocates have laid the groundwork we build on today—often through the arts. From grassroots activism in the 1980s (and earlier) to the global stage of the 2012 Paralympics, disabled artists have used creativity as a powerful force for change. The UK's cultural output—through platforms such as Unlimited, Graeae, Birds of Paradise, and many others—has brought distinctive stories and aesthetics into national and international conversations. The soil they created made it possible for inclusive practices to thrive.

That’s why recent policy developments feel not just worrying, but actively destructive.

This is why inclusion can’t be treated as an abstract ideal. It is tied to systems. If the policy soil we grow in is made toxic, even the strongest practices will struggle to take root.

The situation is serious. But this isn’t a moment for doom and despair. This is a moment for vigilance and solidarity.

Earlier this year, I had the privilege of designing and delivering a four-session trainers’ training programme titled Walking the Talk and Talking the Walk – Approaches in Making Arts More Inclusive for the Arts with the Disabled Association Hong Kong (ADAHK). The sessions brought together a group of cross-disciplinary practitioners—artists, facilitators, producers, educators—each at different stages of their careers. What they shared in common was a commitment to making their creative practices more inclusive, regardless of discipline or role. Their contributions made the space rich with insight, questions, and a spirit of shared learning.

We were joined by guest speakers who shared how they shape their arts practices to be inclusive and welcoming for everyone. As someone who developed my career in disability arts and access in Hong Kong and now lives and works in the UK, this opportunity to be a conduit between two cultural contexts felt especially meaningful. The reflections offered continue to resonate with me.

Across the guest speakers, themes of co-creation, power-sharing, and the importance of building trust—especially in spaces that can feel intimidating or exclusionary—emerged again and again.

Tracy Gentles – SICK! Festival

Tracy shared SICK!’s community-led approach to inclusion: amplifying voices often overlooked, and challenging who gets to shape public spaces. Meaningful inclusion, she reminded us, isn’t about bringing people in as an afterthought. It’s about who gets to sit at the table from the very beginning. She left us with three vital questions:

  • Who defines the space you work in?

  • How do we shift from just inviting people in to actually sharing power?

  • How do we move beyond representation toward real decision-making?

Tim Casson – Casson & Friends

Tim’s joyful, people-powered work begins with the belief that everyone is creative, everyone can dance, and dance can happen anywhere. He treats communities as creative experts, and shared his five-step co-creation process—from identifying a community, building relationships, listening and creating together, to sharing and touring the work. What stood out was how this process centres curiosity, long-term relationships, and a genuine interest in others. 

Charli Ward & Alison Colborne – Mind the Gap

Charli and Alison grounded the discussion in the day-to-day realities of making inclusive work. From accessible communications and flexible formats to bespoke support and embedded creative enablers, they offered insights into what it really means to meet people where they are. One thing that stayed with me: “Our goal is to work ourselves out of a job.” True inclusion means investing in others’ leadership, not maintaining our own centrality.

What does it mean to walk the talk in cultural inclusion? One thing I’ve learned over the years is this: alongside strong DEI strategies, we must commit to actively identifying and eliminating barriers. This matters just as much—if not more.

But to walk the talk, we need “walkers” to come together to take action.


Here are ways that you can act:


Stay informed


Speak out


Sign and share

  • Open Letter from the Cultural Sector to Lisa Nandy (DCMS) and Liz Kendall (DWP) – calling for meaningful consultation and warning of the risk of reversing decades of progress.

  • Share it widely. Add your name. Encourage others in your sector to do the same.


Respond to the official consultation


Support disabled artists and organisations

  • Commission, platform, fund and advocate for their work.

  • Embed access and inclusion into your own practice, from policy to programming.


Inclusion isn’t just a practice or a policy – it’s a promise. A commitment to recognise, remove, and resist exclusion in all its forms. It is fragile and cumulative, built over time through care, persistence, and trust.

We owe it to those who came before us – and to those creating now – to protect the soil they’ve cultivated. To speak up when it’s being eroded. And to keep building new ground, even when the path becomes uncertain.

We walk. We talk. In solidarity – towards a cultural world where all can belong.

Harmony Without Unity: Listening For Nuance In Precarious Times

Originally commissioned and published by New Art Exchange

My name is Janet Tam. I am a 50-year-old Chinese woman, born and raised in Hong Kong. I am 5’1”, wear dark-rimmed glasses, and have mostly black, thin, long hair. I moved to the UK three years ago and now live in Edinburgh. I am a Buddhist and a cancer survivor. Reading the provocation, I am struck by two things: first, how much adversity we currently face; and secondly, how my own lived experience shapes my response.

I’m not sure what comes to your mind when I describe myself. Neither can I be sure what impressions or assumptions you may have for a 50-year-old Chinese woman from Hong Kong. When I was born, Hong Kong was still a British colony, in a predominantly Chinese society. From my Granny’s stories, I caught glimpses of what life in mainland China was like back then. She was a widow. She moved to live with us in the 60’s to look after our family, barely escaping the Cultural Revolution — a time of violence, chaos, and fatality, all in the name of eradicating diverse views and freedom of expression, under the guise of empowering the masses. But I have heard enough from her about what happened to people she knew. 

I have always believed in the power and potential of diversity. I have spent most of my working life advocating for access and diversity in the arts, moving towards the Confucian idea of ‘harmony without uniformity.’ (和而不同) The reason is simple and perhaps selfish: it is a basic human right to be included in society, in all its aspects. My Granny lived through the consequences of this right being violated. I didn’t expect to myself, but I have.

I am one in 144,000 Hongkongers who came to the UK after the erosion of civil rights in the wake of the 2019 Hong Kong protests and China’s increasing influence in Hong Kong’s governance. Recently, I find myself insisting on specifying that I am from Hong Kong, distinguishing myself from other Chinese identities, from my own Chineseness. However, not all diversity monitoring forms allow me to express this nuance. I tick that Chinese box under Ethnicity, the only box offered to me, and do not feel seen for my whole being, my nuance.

Long before I moved to the UK, through my work in disability art, I always deeply admired the UK’s vision of honouring individual differences and the push for diversity. But having lived here for a while, I find myself in doubt. Can the UK truly be called diverse if certain voices or opinions are easily dismissed as "other"? This appears to undermine the very essence of what diversity should represent. In the face of societal division and mounting frustration, it seems we have lost the patience to appreciate and engage with nuance when that patience is most needed. The fear of being cancelled or driven off platforms for holding perspectives outside mainstream narratives creates a suffocating environment, not only for artists, but for every member of society.

Social media has mutated from providing access for common people to share their opinions, to spaces that are manipulated and pushed to the extremes, serving the agendas of interfering governments, companies who only care about profit, and individuals already in significant positions of power. These days, expressing certain views on social media not only feels like walking on eggshells, constantly wary of backlash from other users, but also has the added concern of feeling like an accomplice of such toxic spaces. I keep wondering, who truly benefits when social discourse becomes so binary? Whose agendas are we fulfilling if opposing voices are being marginalised or silenced? It all sounds so familiar… Why does cancel culture remind me of my Granny’s stories of the Cultural Revolution? Isn’t it the same decay of freedom of speech that drove the 144,000 Hongkongers here? Where can we speak and, crucially, listen to each other constructively, without fear?

This fear is far from the only adversity the UK is facing. How many people do you know live from hand to mouth, working multiple jobs just to pay their bills? The word ‘precarity’ was new to me but, living here for the past three years, it has become one of the top ten words I use, especially in work. In the cultural sector, we see precarity manifesting as a lean operating environment. Resources are stretched thin, and systemic inequities persist, so that diverse and intersectional communities are disproportionately affected by the turmoil of our times, with their voices and stories under threat of being pushed out of society, while their livelihoods are eroded.

Not long ago, I came across a DCMS report* that highlighted stark disparities:

  • “Earnings by employees in the Cultural sector fell by 4.2% in nominal terms between 2016 and 2021 whilst those for the UK as a whole rose by 11.7%.”

  • “In 2020, the Creative Industries had lower proportions of filled jobs held by women, people with disabilities, and people from ethnic minorities, compared to the UK average.”

This precarious ecology creates significant barriers for meaningful change. The constant struggle of being in survival mode can force organisations and individuals into indifference, where time and resources to advocate for nuance and understanding are seen as unaffordable luxuries. This can lead to a vicious cycle where inequities not only persist but also deepen, and progress becomes harder, or seems impossible, to achieve.

We cannot change history, even though it feels like we’re living through a repeat. But, just as the people before us created the conditions we now live in, it is in our hands to plant seeds for a future that we’re collectively responsible for - and the arts have a huge part to play in that work. The arts are a platform for voices to be heard. If someone is unable to tell their stories, it is a form of oppression. Through artistic expression, we can relate to one another, not only recognizing and respecting each other’s similarities and differences, but also create the building blocks for deeper connections and more expansive communities. 

At Something To Aim For (STAF), we work with intersectional and diverse communities, towards a world in which all people have meaningful connections to cultural experiences, with the voices and stories of under-represented and marginalised artists and communities at its centre. Our work is guided by core values of inclusivity, critical generosity and care that reflect an asset-based approach. We focus on the strengths and potential within individuals and communities, believing that we are greater than the sum of our parts. We also emphasise cross-sector partnerships to facilitate exchange and understanding, creating a collaborative environment for all involved. I was drawn to work for STAF because, through STAF’s values and approach, we can practice the Confucian idea of harmony without uniformity together. We work to ensure that differences are not seen as a threat but seen as they really are - an enrichment to the collective whole.

Our society stands at a critical juncture. To break free from deepening cycles of social divide, we must care enough to embrace difficult conversations, not shut them down. The cultural sector has a unique and vital role in addressing these complex issues because we have the tools to reveal nuance, facilitate conversations, and build understanding. Storytelling and community engagement help cultivate the conditions for courage. It is our civic responsibility as creative practitioners, curators, and changemakers to imagine, build, and uphold spaces where these meaningful encounters can occur.

A truly diverse, equitable, and connected future - where people can live and work together harmoniously while maintaining their unique identities, perspectives, and values - is possible. But only if we all build it together, brave and free.

* Official Statistics: DCMS Sector National Economic Estimates: 2011-2020 (Released on 23 December 2021, updated 22 November 2024): https://www.gov.uk/government/statistics/dcms-sector-national-economic-estimates-2011-to-2020/dcms-sector-national-economic-estimates-2011-2020#creative-industries

Connecting the Dots: Cultural Justice and Anti-Poverty Work

At Something To Aim For (STAF), our mission has always been to support under-represented artists and cultural workers, particularly those from marginalised communities. These are the voices that often go unheard in mainstream cultural spaces, and we are committed to amplifying them. Since last year, we’ve expanded our focus to include anti-poverty work, recognising that the barriers to cultural participation and economic hardship are deeply connected. As part of this effort, we’ve taken on initiatives like the Building an Anti-Poverty Community (BAAPC) project together with the Manchester Central Foodbank, and we are commissioned by Manchester City Council to support for the establishment of an Anti-Poverty Strategic Insight Group as part of the Council’s Making Manchester Fairer: Anti-Poverty Strategy. These initiatives underscore our commitment to tackling the root causes and structural barriers that perpetuate both cultural and economic inequities.

As I’ve reflected on this expansion, I’ve often found myself wondering about the deeper ties between these two areas. The more I think about it, the clearer it becomes that cultural exclusion and economic disadvantage are not just related—they are fundamentally intertwined, and addressing them requires changes to the very infrastructure of our systems and society.

Cultural Exclusion and Economic Hardship

The communities we support—those historically marginalised by  reason of disability, health conditions, other social or economic disadvantage and intersectional identities—are often the same ones most at risk of poverty. Recent research by The Audience Agency highlights how the rising cost of living is a significant barrier to cultural participation, particularly for economically disadvantaged groups. This raises important questions about how these economic barriers can be addressed alongside promoting cultural justice.

It’s evident that when people are excluded from cultural spaces, they also face limited economic opportunities, which further deepens their marginalisation. As a creative infrastructure support organisation, we constantly ask ourselves how we can contribute to reshaping these systems to be more inclusive and equitable?

Why Cultural Justice Matters

Cultural justice is about more than just inclusion; it’s about creating opportunities for everyone to participate fully in cultural life. When the voices of under-represented artists are heard, the cultural landscape becomes richer and more reflective of our diverse society. However, recent findings show that those who are financially better off have more freedom to engage in cultural activities, while those who are economically disadvantaged face further exclusion. This highlights the urgent need for more inclusive strategies that ensure everyone can contribute to and benefit from cultural life.

At STAF, we recognise that addressing these challenges requires more than just supporting individual artists; it also involves advocating for changes in the broader cultural infrastructure. By contributing to the development of systems that are more accessible and inclusive, we aim to play our part in ensuring that cultural participation is not constrained by economic status.

Anti-Poverty Work: A Natural Extension

Our anti-poverty initiatives are a natural extension of our commitment to cultural justice. The communities we work with are not just culturally marginalised; many of them face significant economic hardships as well. Addressing these intertwined challenges is essential to fostering a truly equitable society.

At STAF, we see our role not just in supporting the arts, but in helping to transform the systems that shape our society. By contributing to anti-poverty work, we help create the conditions necessary for full cultural participation, which in turn supports overall well-being and strengthens the social fabric of our communities.

Building Community Bridges

Our work at STAF goes beyond supporting individuals; it’s about fostering connections between communities and contributing to a more inclusive cultural infrastructure. Recent findings highlight the importance of creating pathways that ensure equitable access to cultural opportunities, particularly for disadvantaged groups. This aligns with our belief that cultural participation and economic stability are deeply connected.

By working to address the structural barriers that underlie both cultural and economic inequities, we are committed to helping build a society where everyone has the opportunity to thrive.

Looking Ahead

As we continue this journey, these reflections guide our approach. We remain dedicated to exploring and implementing strategies that bridge cultural and economic divides. We invite you to stay tuned for our upcoming initiatives as we work together to create a more inclusive and equitable future.

References:

The Audience Agency (2023). Cultural Participation Monitor: Recent Key Insights. https://www.theaudienceagency.org/evidence/cultural-participation-monitor

Social Biobehavioural Research Group (2023). The Impact of Arts and Cultural Engagement on Population Health.

https://www.artsandhealth.ie/research-evaluation/the-impact-of-arts-and-cultural-engagement-on-population-health/