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A cultural education programme in the north west has shifted its focus from pupils to teachers and is seeing great results. Sarah Bailey explains how.
A new box office system has built a stronger link between London’s Dominion Theatre and its ticket agents, who can now sell directly from the live inventory. Libby Penn reports.
Opening a hostel has helped East Street Arts to support artists and generate much-needed income. Nicola Greenan explains how they did it.
An interactive light and sound installation recently connected neighbours in a former coal mining area. Debbi Lander explains how.
An interactive guide to Kettle’s Yard’s collection is engaging a wide audience online. Lucy Wheeler shares what she had learned from the project.
Providing opportunities to volunteer online is helping Birmingham’s museums to engage with more and more people. Rebecca Fletcher explains how they do it.
A third of frontline staff in Brighton’s museums have now taken part in a placement programme that is boosting their skills. Helen Graham explains how it works.
The invitation to bring a disused library in Southwark back to life as a pop-up space for artists and community groups came with many challenges as well as opportunities, Rebecca Manson Jones reveals.
When Exeter Corn Exchange had to become financially self-sufficient, its busier programme required a fully rounded box office management system. Libby Penn reports.
The key to building a loyal audience for a family arts festival? It needs to come from a place of integrity, says Rowan Hoban.
Families are key to audience development, but how do you attract them? Patrick Spottiswoode reveals how Shakespeare’s Globe plans to market a new festival to family audiences.
Over £400k has to be raised every year to stage the Ageas Salisbury International Arts Festival. How do they do it? Toby Smith outlines his strategy.
Growing slowly and organically has helped Kidderminster Arts Festival respond to the needs of local artists and the community, says Loz Samuels.
Through the Circuit network, 15 to 25 year olds create arts events for other young people. Rachel Escott reveals what they’ve learned about marketing to this under-engaged audience.
How can you attend a festival if you can’t leave your house? Michael Eades describes a project bringing the festival experience to people with dementia.
Harlow Playhouse’s Pay What You Can pricing initiative is attracting new audiences, but is it too financially risky? Scott Ramsay reports half way through its first season.
Following the success of relaxed theatrical performances, Chris Proctor explains how Birmingham’s Town Hall & Symphony Hall has gone about staging relaxed concerts.
Encouraging individual giving may not make financial sense, but it’s helped Unfolding Theatre build invaluable relationships, says Annie Rigby.
Not many know that Oxford has some of the worst rates of child literacy in the country. Louise Chantal describes how a playwriting programmes is making a difference.
How do you embed an everyday culture of creativity in a university? This was the starting point for a creative experiment at King’s College London. Laura Speers and Jo Hunter share what they’ve learned so far.