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The third public online discussion to shape the upcoming White Paper on culture has been launched, but engagement in previous discussions has been limited.
Tired of the same old conversations about audience development, Victoria Johnson has decided to shake things up.
Can a small touring company benefit from running a Friends scheme? Liz Hill examines the opportunities and the challenges.
Awards for excellence in marketing, diversity and accessibility were presented to theatres in the annual UK Theatre Awards.
Placing data-scientists-in-residence in arts organisations has led to some futuristic tools that are of real use. Cimeon Ellerton reveals the details.
Allegations that Liverpool's Everyman & Playhouse Theatre are failing to embrace the local community couldn't be further from the mark, says Rebecca Ross-Williams.
How many older people do you expect to see in a contemporary art gallery? Clare Hankinson tells how Fabrica’s older audience programmes welcomed over 1,000 people last year.
Older people want to be part of an intergenerational community not a ‘crinklies camp’. Stephanie Fuller shares this and other tips on how to reach out to older audiences.
In an era of data sharing, Marcus Romer asks who audience data belongs to: touring companies or venues?
Selling in the arts is improving but it could still learn a lot from retailers and travel companies, says Libby Penn.
Some arts attenders are more ‘promiscuous’ than others, the Audience Agency’s data can reveal.
Lorna Lee reveals how William Morris Gallery boosted its visitor numbers from 17,000 to 110,000 by engaging local people.
Partnerships with local authories are crucial to Orchestras Live’s work. Henry Little reveals how they’ve maintained relationships through challenging economic times.
Libby Penn reveals how MAC Belfast achieved ambitious attendance targets in its first year of operation with the help of a bespoke segmentation model.
Who really benefits from ‘pay what you can’ and ‘pay what you decide’ ticketing offers? Two organisations reveal whether it worked for them.
After collecting more than 100,000 survey responses, Leo Sharrock and Helen Palmer can reveal the main reason people attend the arts.
For a recent production, Little Earthquake passed the reins over to 100 primary school children. Philip Holyman describes the events as they unfolded.
With more and more arts organisations forming consortiums, Trevelyan Wright shares his tips on how to be a strong lead or a supportive partner.
Kelly-Anne Collins shares the story of how one dance support network diversified – creating a platform to showcase new work – and may just have triggered a revolution for dance in Northern Ireland in the process.
Are theatre intervals a helpful pause or an annoying inconvenience? Rachel Beaumont puts the question to Royal Opera House audiences.