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The outdoor arts attract audiences that other artforms aren’t always able to. Jonathan Goodacre examines why.
Plans for a Leeds-based centre for excellence in dance and a “world-leading hub for dance” in East London are aiming to put England on the international dance map.
An interactive light and sound installation recently connected neighbours in a former coal mining area. Debbi Lander explains how.
Where do your audiences go when they’re not with you? Leo Sharrock considers his own ‘elsewhere data’ and what can be learnt from it.
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.
Technology is offering new ways for arts organisations to market their work and engage with audiences. Sofia Carobbio reveals some of the most effective.
Following the third year of the DCMS Taking Part’s longitudinal study, a new report reveals who attends the arts most often and why people stop engaging.
For Susan Miller, an MA in Fine Art has been a real opportunity to confront the vulnerability artists feel when exhibiting their work in public spaces.
What do audiences for Shakespeare look like today? As theatres prepare to mark the 400th anniversary of the bard’s death, The Audience Agency reveals some valuable insights.
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.
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 many theatres offer audio description services to blind and partially sighted people? Matthew Cock carried out some research and is disappointed with his findings.
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.
Encouraging individual giving may not make financial sense, but it’s helped Unfolding Theatre build invaluable relationships, says Annie Rigby.
Touring companies have trailed behind venues in their access to meaningful audience data, but new insight tools are now benefiting touring companies and venues alike. Rosie Hanley reports.
Frustrated by a shortage of touring opportunities for black and Asian theatre, Jatinder Verma and Jonathan Kennedy made it their mission to change the hearts and minds of artistic directors and inspire audiences across the country.
Research into an app that encourages students to attend classical music has elicited some unwelcome responses, reveals Garry Crawford.
Realising that its audience members were all in ‘a stage of transition’ was a revolutionary moment for Jabberwocky Market. Caroline Pearce explains why.
Angus MacKechnie explores our complicated relationship with cultural buildings. Is it time for a change of attitude?