AmbITion Scotland’s Make:IT:Happen fund aims to help Scotland’s cultural sector become digitally fitter. Ashley Smith-Hammond discusses its approach and some early results.
Employment in music and the performing and visual arts has been growing more slowly than in the rest of the creative economy, but their financial performance is forging ahead.
The Royal Opera House has been sharpening its commercial agenda over recent years. Alastair Roberts describes how it has developed its brand licensing and media activities.
Ten new Young Arts Entrepreneurs recently emerged from Curve’s dragon’s den to start the third year of a project for emerging young artists. Alison Moore tells the story.
A social media-led website which showcases Glasgow’s visual arts scene has taken first place in the Public Sector category at this year’s Herald Scottish Digital Business Awards.
Doncaster’s new arts venue opened in September - a response to negative comments about the town’s history of low engagement with the arts. Kully Thiarai pauses to reflect on the overwhelming welcome that the theatre has received.
Claims that arts education brings wide benefits in terms of creativity, social skills and academic performance are at best optimistic and are not well grounded in reliable evidence, according to a new report.
Mark Fisher charts the global success of ‘Made in Scotland’, the programme which showcases dance and theatre companies at the Edinburgh Festival Fringe.
Hull, on the long list for UK City of Culture 2017, is already benefiting from the bidding process as it celebrates its quirkiness. Jon Flinn explains all.
Sadler’s Wells Wild Card initiative has not only offered unique opportunities to young artists but has also attracted a new ‘offbeat’ audience. ArtsProfessional finds out more.
