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.
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.
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.
By taking a robust approach to understanding the social class make-up of the workforce, the cultural sector can address entrenched inequalities. Dave O’Brien suggests a way forward.
Counting What Counts Ltd has won the £2.3m contract to deliver the quality measurement system that England’s larger arts organisations will use from October.
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.
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.
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.
