A simple repertoire scoring system is far more effective than a crystal ball for predicting the popularity of a programme, setting budgets and segmenting an audience. David Reece explains how it works.
As technology becomes an increasingly distracting force, it’s down to live entertainment to tempt people to set aside their devices and be present with each other, says Dave Wakeman.
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.
Art can ask difficult questions and help people engage with complex topics. With conflict and political divisions spreading across the globe, it’s vital arts producers find new ways to bring people together, says Daniel Gorman.
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.
Turtle Key Arts has been involved in arts projects with disabled people in many countries. Alison King reflects on the attitudes and approaches of the people she has met.
Damning research has woken Australia up to the situation for indigenous artists in the country. It’s time for their voices to be heard, says Jacob Boehme.
What rights do artists have when their work is exhibited without their permission? Eleni Polycarpou considers the controversy surrounding the Anselm Kiefer exhibition in China.
Manchester Camerata’s work with people with dementia recently took its musicians to Tokyo to deliver training. Lucy Geddes reveals what they shared and what they learned.
A fascination with lullabies has led Supriya Nagarajan to produce inter-cultural performances and education projects around the world. She tells the story.
Will Donald Trump, a liberal arts graduate, be enamoured by an industry with an envious return on investment? Or will his government continue a history of half-hearted federal support, asks Craig W Johnson.
Over half of Arts Council England’s NPOs are reaping rewards working internationally, but larger organisations and those based in London tend to benefit most financially.
UK-based artworks loaned overseas to museums or galleries are more at risk from seizure in Italy than they would be in other European countries. Giulia Cipollini calls for the situation to change.
How can arts organisations ensure they matter to their audiences and funders? Sara Lock has been learning from Nina Simon, author of The Art of Relevance.
An established brand has helped arts organisations increase engagement and fundraise. But how do you begin developing a brand? Kirsten Abildgaard offers her tips.
Dance is perfectly suited to being toured internationally, says Anthony Missen. He explains how exporting has allowed Company Chameleon to grow and flourish.
An international collaboration is helping young people with disabilities in the Ukraine get involved in the performing arts and bringing communities together, writes Sylvia Harrison.
