Hannah Mitchell explains how arts organisations can achieve the desired ticket sales through significantly fewer emails.
Most theatres and other arts organisations look to their existing customer databases to sell the majority of their tickets for new events. The move to digital communications brings significant benefits in terms of cost and efficiency, but as a lower-cost option it does mean that more communications are sent out. The implication is that many customers are turned off and either unsubscribe or ignore such emails.
From working with venues over the last ten years on targeting for mailing... more
Taking female actors to Saudi Arabia to perform with young Saudi women is just one of the National Youth Theatre’s ground-breaking activities, says Paul Roseby.
Research shows that recruiting the right type of creative professional can be critical for the success of a schools project, explains Paul Collard.
Roberta Doyle explains why Scotland’s theatre company ‘without walls’ tours the highlands and islands of Scotland.
In true Bertrand Russell style, Chrissie Tiller suggests that we turn the burden of proof on its head – and prove that the arts and culture are of no value to anyone.
Verity Sanderson explains how a group of digital marketers are seeking to make changes to marketing strategies and initiatives in their organisations.
Carien Meijer describes some recent developments of technology and musical instruments for disabled musicians.
What would happen if participation in the arts is extended to participation in its artistic decision-making, asks Leila Jancovich.
Linden Rowley explores who the commissioners of public services are, where to find them and how arts and cultural organisations can best talk to them.
A researcher-in-residence scheme is proving that high-quality research skills can benefit the cultural and creative industries, says Evelyn Wilson.
Are vision, mission and values at the heart of good cultural fundraising? Michelle Wright explains why arts organisations need to be clear about their fundamental purpose.
Fred Weijgertse explores the global art market’s record year and points to the growth in exhibitions, galleries and collectors in China.
Colin Tweedy calls for business sponsorship of the arts to be nurtured again, particularly outside London where private, philanthropic donations cannot be relied on.
When Making Music learnt that it was no longer a National Portfolio Organisation, it was forced to rethink how it operated. Barbara Eifler describes a difficult six months.
Community members and arts and heritage organisations can all benefit from volunteering if some basic principles are followed. Abigail Kay explains what good practice looks like.
How can arts companies, low on budget and short on time, refuse the offer of free labour? Cathryn Peach tells how her company welcomes volunteers but tries to give them something back.
London Bubble offers a wide variety of volunteering opportunities, but it’s not just about one-off opportunities, explains Lucy Bradshaw – they’re in it for the long haul.
Unpaid work is a serious problem for many Equity members but, as Emmanuel de Lange explains, a new campaign to increase awareness should lead to a better, fairer entertainment industry.
Regularly volunteering in both front of house and backstage roles has given many students their initial interest in the arts, according to Katherine Edwardes.
A recent visual arts and museums project offered volunteers training to enable them to talk more knowledgably and confidently to visitors, says Carolyn Black.
With such a large number of volunteers working on the Manchester Day celebrations year after year, Liz Pugh gives some advice on how to build a team of loyal volunteers.
Volunteers are now at the heart of a national programme to improve wellbeing and social cohesion, says Penny East.