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The idea of ‘global Britain’ became a centrepiece of Conservative Party rhetoric in the aftermath of the Brexit referendum. This article examines how this formulation may evolve in the face of renewed conflict over immigration and identity on the British right. It is argued that, in recent years, British conservatism has faced two principal long‐term challenges: first, the challenge of broadening its appeal in an increasingly diverse and multicultural Britain and, second, the challenge of a national populist insurgency emphasising white British (especially English) identity and hostility to immigration and multiculturalism. In this context, it is argued that the term ‘global Britain’ exists in implied opposition to the idea of ‘little England’ and that this binary opposition has shaped the use and reception of the global Britain concept within conservative politics. It is further argued that the usefulness of the global Britain concept relies on its capacity to be a ‘coalition magnet’ linking liberal internationalist ideas to the more nationalist mood of the contemporary British right. [ABSTRACT FROM AUTHOR]

They begin to induce the flickering of fear and excitement (as circus has always done) when Zanzu begins a methodical tying process for another suspension with jute rope - but this time, around their face. This is where Zanzu (they/them) comes in. I EZ i (see Figure 1) is a circus piece with one performer, a recorded voice, and an improvising audience member. Elena Zanzu's I EZ i fits neatly into the emerging domain of "new circus" - performances that leave behind the brash ringmaster glam of the traditional circus and the Cirque du Soleil I internationale i of "contemporary circus.". [Extracted from the article]

This paper explores the normative and epistemic effects of dis/ability arts organisations in the UK and Sweden, when theorised as systemic innovations. Using an aesthetic philosophy of kynicism, this paper identifies disruptive potential in three case-study organisations within the settings of health, social care, and the arts. Data from interviews and/or presentations with managers from Moomsteatern (SE), Teater Interakt (SE), and Breathe Magic (UK) is analysed within a 'social model' of dis/ability, and finds the existing discourse of innovation inadequate. The resulting discussion identifies validations of the speech, expertise and bodily autonomy of persons of dis/abilities within hybrid organisational settings. [ABSTRACT FROM AUTHOR]