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The city theatre in Ghent, Belgium has a new rulebook, aiming to open it up to the independent scene and international touring. Milo Rau introduces his 'Ghent Manifesto'.
Jo Marsh and Sarah Featherstone explain how relocating Wrexham’s art gallery to a market and parking complex has helped make the arts a part of people’s everyday lives.
Dover’s contribution to the Armistice Centenary in November will be a collaborative community production about the arrival of the body of the ‘Unknown Warrior’. Andrew Dawson tells the story.
When James Haddrell took on the directorship of Greenwich Theatre over ten years ago, he didn’t know if the company had a future at all. Here he charts its imaginative route to recovery.
Laura Bailey explains how Kent County Council is aiming to integrate arts and culture into its commissioned services across the board - even in waste management.
A project run by the Royal Exchange Theatre in Manchester and a housing provider started with cultural visits and ended with a full-scale theatre production. Inga Hirst tells the story.
A circus artist helped older people and children develop their confidence and communicaton skills in workshops at Guy’s and St Thomas’ Hospital, writes Emma Gladstone.
As well as being a studio space for independent dancers and choreographers, Glasgow's The Work Room is also an empowering artist-led support network, says Anita Clark.
Many children steer well clear of opera, but the artform has allowed primary school pupils in Norfolk to discover new heights of confidence and creativity. Genevieve Raghu explains how.
Clare Edwards argues that commercial organisations can extend access to music education - without compromising on quality.
A project in three Manchester secondary schools engaged students in discussions about mental health and enabled them to develop their own creative responses through dance and movement. Kevin Edward Turner tells the story.
A training programme in Wales is helping teachers create environments of "constructive chaos" that their pupils can thrive in, reports David Baxter.
Losing NPO funding was devastating for Dance Manchester, but it has liberated the company to pursue its own path driving placemaking through outdoor work, says Deb Ashby.
Setting up a new theatre in a former bus depot with no funding was a leap of faith for its two founders. Peter Tate and Anthony Biggs tell the story.
For people reluctant to pay to see a full-length Shakespeare play, the RSC’s open-air, non-ticketed theatre staging amateur productions offers a relaxed alternative, says Nicola Salmon.
Since moving its box office system to the cloud, the Royal Welsh College of Music and Drama has increased online sales and started taking online donations, says Paul McGuinness.
The right approach to segmentation can drive sales and improve return on investment, as Tennessee Performing Arts Center in the US proved. David Reece and Timmy Metzner explain.
Alison Fordham explains how IF: Milton Keynes International Festival’s programme of outdoor events is a key audience development and placemaking tool for the town.
Partnering with Areas of Outstanding Natural Beauty has created opportunities for Activate to bring exciting contemporary art to stunning outdoor settings. Kate Wood explains how.
Outdoor events have been key to attracting tourists to Kent’s coastal towns and driving culture-led regeneration, says Sarah Dance.