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Working in a professional dance house helps dance students in Derby prepare for life after university, writes Clare Limb.
The multi-million pound reboot of the Lighthouse in Poole is only the beginning of its journey towards an inclusive participatory future, says Stephen Wrentmore.
A consortium of Scotland’s universities and art schools place researchers within arts and cultural organisations. Anna Scott discusses the benefits to all involved.
The University of Bradford may be a technology university with no arts department, but it still saw the need for a theatre on its campus. Javaad Alipoor explains why.
Tate Liverpool’s work with local universities enhances its education and audience development programmes. Michael Birchall reveals how it builds and maintains these partnerships.
Can you teach astrophysics through dance? Academics and dancers in Manchester have been giving it a go. And tackling gender inequalities to boot, says Deb Ashby.
Coventry’s two universities are a crucial component of its bid for UK City of Culture 2021. Geoff Willcocks explains how they are working with the cultural sector.
As many organisers of outdoor arts events have a love–hate relationship with collecting data from visitors, Vishalakshi Roy offers some advice on how to make it a more positive experience.
Drama is a highly effective teaching tool in schools, so why don’t teachers use it more, asks Luke Hollowell-Williams.
Claire Antrobus reveals how volunteers, trustees and staff at Ripon Museum Trust have developed their leadership and coaching skills, resulting in greater organisational resilience, better internal communication and clearer roles.
A new approach to box office management has shifted the revenue balance at Blackpool Grand Theatre firmly toward ticket sales and greater commercial independence, says Libby Penn.
The days when The Beatles played Croydon may be a distant memory, but the council’s regeneration plans hope to bring culture – and audiences – back to the borough’s heart. Paula Murray explains how.
Age shouldn’t be a barrier to dancing or performing, says Vicky Thornton. She shares the story of DANCE SIX-0, a contemporary dance company for the over 60s in Salisbury.
Productions chosen for the Made in Scotland showcase gain a stamp of quality, but how are they selected? Wendy Niblock asks members of the panel what they are looking for.
What is it about great art that makes one’s hair stand on end? Claire Gulliver describes a contemporary art programme that tried to figure it out.
Rhian Hutchings tells the story of how ArtWorks Cymru came to develop a set of quality principles for the participatory arts in Wales.
Looking to measure the impact of their work in hospitals, Air Arts found that pre-existing evaluation methods didn’t work. Laura Waters describes their bespoke approach.
Last year Leicester’s Curve Theatre increased its turnover by 30%. Chris Stafford discusses touring, hospitality and rejecting capital funding.
The digital installations at Tate Modern’s new extension not only show previously hidden treasures, but also appeal massively to a young audience, says Adam Jenkins.
Training has given many non-specialist fundraisers in the East of England the skills and confidence to make their case to potential funders, says Miranda Rowlands.