On target

12 Dec 2011

Colston Hall has tested out Purple Seven’s Balanced Database approach to target marketing – and the results are very promising. Sarah Robertson explains

Queue-free ticketing

12 Dec 2011

Kath Mainland explains how its ticketing partner, Red61, has enabled Edinburgh Festival Fringe to solve its perennial queuing problems

Nurturing your website

12 Dec 2011

Beth Aplin gives advice on choosing and working with website developers

39 steps to relationship management

12 Dec 2011

With tickets being sold at 39 theatres, ATG needs a system that will respond to customers across the UK. AudienceView is making it happen

Selling on the streets

12 Dec 2011

Laurence Miller tells how Nimax Theatres has been working with Enta to improve its sales to the elusive visitor market

In search of diverse outcomes

12 Dec 2011

Jenny Williams says it’s time to stop ‘parachuting in’ arts projects to diverse communities and instead to support those communities to take the lead

Braced for the challenges ahead

12 Dec 2011

Nicola Young finds Spektrix to be a system that is not only a pleasure to work with, but also a source of support in developing the Belgrade’s revenue streams

The business case for diversity in building adaptive resilience

12 Dec 2011

Businesses where people look, sound and think the same are playing a high risk game, says Mark Robinson

A clear vision

12 Dec 2011

Christopher Wynn applauds Blackbaud’s software for giving fundraisers at Edinburgh International Festival a clear understanding of what their supporters want

Reaching the ‘pick and mix’ audience

12 Dec 2011

Clarie Middleton says achieving diversity needs a holistic approach

CRM starts at the box office

12 Dec 2011

A lot of people in theatres and concert halls talk about the importance of Customer Relationship Management, but most are not really doing it and seem reluctant to start. Helen Dunnett encourages them to get going

Empowered ticketing

12 Dec 2011

Roger Tomlinson takes a snapshot of the wide range of options available these days to arts organisations that sell tickets

A permanent record

12 Dec 2011

Deborah Baddoo explains how State of Emergency Productions is working to have the history of British Black dance recognised, valued and accessed by the widest possible audience

A conversation with the BBC

21 Nov 2011

Broadcasting is collaborative. A lot of people are involved in creating it, and many of the best new ideas are born out of dialogue. Mark Bell reveals how arts collaborations come about, and what makes them so effective

Embracing the outdoor audience

21 Nov 2011

Pippa Smith shares some tips on building audiences for free outdoor events, based on the experiences of Brighton Festival.

Tripping the Light Fantastic

21 Nov 2011

Clare Hearn tells of the logistics of managing an annual event involving naked flames, small children and an un-ticketed audience of 25,000 spectators and participants

Big ambitions for the Little Festival of Everything

21 Nov 2011

Charlie Rheinberg explains how a pub in a small village in North Yorkshire is linking up with a theatre company to enable performers to try out new work in a country retreat while the audience participates, watches and enjoys the experience for free.

Building relationships and breaking down barriers

21 Nov 2011

Overcoming social and economic barriers to arts engagement is at the heart of Threshold Studios’ work, which is why most of its work is free to participants. Barry Hale and Uzma Johal explain.

Making it theirs

21 Nov 2011

A free stage in the foyer creates opportunity for artists and audiences alike. Sarah Gilbert explains why the Wales Millennium Centre is so enthusiastic about theirs.

Strengthening the case

21 Nov 2011

Poor quality economic impact assessments may have dragged down the arts sector’s perceptions of valuation studies, but Hasan Bakhshi warns against throwing the baby out with the bath water

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