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As an arts festival with an explicit social change mission, Refugee Week faces some unique challenges. Emily Churchill Zaraa discusses how it tackles them head on.
Fed up with venues adding unjustifiable fees on to tickets for its shows, Birmingham Stage Company is taking drastic action. Neal Foster explains why producers should follow suit.
Inspired by theatres, Bristol’s museums and galleries decided to try out a ‘pay what you think’ model for exhibitions. Philip Walker tells the story.
Interest in a Swedish theatre’s subscription scheme was plummeting until it reworked it to reward frequent and early bookings. Jenny Bång outlines the changes it made.
Hip hop theatre choreographers are too often seen as outreach workers rather than artists, but a new initiative is trying to change that. Lee Griffiths explains how.
After updating its approach to data collection and sharing, Sadler’s Wells noticed a surge in email sign-ups for its visiting companies. Sebastian Cheswright Cater and Matt Kirby tell the story.
Many international dance companies tour the UK thanks to the Dance Consortium, but venues, young dancers and many others also benefit from its work. Ros Robins explains how.
Following the launch of the Cultural Coastal Network, Polly Gifford explains why it’s needed and what it hopes to achieve.
In a bid to listen more to its audiences, Manchester’s Royal Exchange Theatre launched a collaborative project that resulted in an ‘audience manifesto’. Amanda Dalton shares the surprising results.
Drama can boost the wellbeing of homeless people, but engaging them is not without challenges. Jon Randall shares his experiences producing and touring theatre with Lancaster’s homeless community.
An outdoor performance project featuring blind and visually impaired dancers and musicians has pulled passers-by into a world of ‘sonic vision’. Isabel Jones shares the effects on performers and audiences.
60 young people in Cambridgeshire stay behind after school every week to sing, compose music and play instruments. Lin Hetherington tells the story.
Watershed in Bristol has learnt from its customers with hearing impairments how to be more welcoming, including by learning basic signing. Louise Gardner tells the story.
Graeae has successfully developed D/deaf and disabled audiences across the UK. Richard Matthews explains the principles and strategies that guide their marketing work.
What are the dynamics when a group of artists with and without learning disabilities work together? Emma Bosworth discusses the positive outcomes of the OutsiderXchanges project.
A series of portrait-painting events exploring and celebrating diversity engaged both live and online audiences. Mandy Fowler explains how people from all around the world got involved.
Kevin Edward Turner talks through the stages of his choreographic process for Company Chameleon’s latest work, which explores his own mental health.
As a small company with no permanent dancers, Shobana Jeyasingh Dance productions are tricky to coordinate but ultimately rewarding. Amanda Skoog explains how they manage it.
The Watermill Theatre’s new box office management system has increased ticket sales and donations, and encouraged customers to book earlier, says Libby Penn.
Realising they shared values and aims, Sage Gateshead and Newcastle United Foundation decided to team up. Wendy Smith describes a project that brought music lovers and football fans together.