What is the importance of creativity for young children? Ruth Churchill Dower explores the wide-ranging and ultimately limitless benefits of arts activity.
Artists from across Europe describe what it’s like to work in their country of origin – from the almost desperate situation for some freelance artists in Spain to the generous support on offer in Arctic Norway.
Why do some in the sector feel that babies and toddlers have little to offer as audiences or participants? On the contrary, says Charlotte Arculus, working with this group is never boring.
The opportunities for very young children to experience the arts in rural Devon are few, as well as inconvenient and expensive. How can less culturally engaged families enjoy live performances, asks Amy Bere.
Making a product or service scarce or exclusive has become an effective way to attract customers in other sectors. Tim Baker explores how it might work in the arts.
Venues need a better understanding of customer spending habits for purchases like pre-show meals and interval drinks. James McClure explains how a ticketing solution is providing a comprehensive view.
Reclusive artist John Middleton has just held his first exhibition for 40 years. He explains why he rejected the world of commercial art to 'become a caveman'.
How can Arts Council England do more to include the voices of people with experience of the criminal justice system? The National Criminal Justice Arts Alliance talks to artist and former prisoner Erika Flowers.
Should trustees on arts boards always be expected to give a donation, as is commonly the case in the US? Michelle Wright weighs up the pros and cons of this thorny issue.
Secondary schools have been subject to cutbacks in music education, but we shouldn't lose sight of the many recent successes and advances in this area, argues Carol Reid.
When invited to carry out a creative evaluation of the first three years of Creative People and Places, Sarah Butler decided that the best approach was to have fun.
The opportunities for using virtual and augmented reality in the arts are immense, but realising them is no trivial matter, says Rebecca Gregory-Clarke.
Just providing entertainment is no longer enough to draw in audiences. But by focusing on what people value, arts organisations can maintain strong relationships with customers amid competing demands for their attention, writes Dave Wakeman.
Theatre and concert composer Adrian Sutton looks back on the trajectory of his career, from computer magazine reviews editor to becoming the musical brains behind the score for War Horse.
As arts and cultural organisations rise to the challenges facing the sector, some are adopting new and ground-breaking templates for their relationships with business. Patrick Towell surveys the changing landscape.
Artists are using their creative insight to advise business on strategies and methods of production. Catherine Morel and Philippe Mairesse explain how.
