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Every year, 40,000 people are drawn to Sheffield’s Crucible Theatre for an event that is neither a play nor a musical. Bookey Oshin reports on an unusual partnership.
When audiences for her contemporary circus tours stagnated, Rachel Clare of Crying Out Loud realised a fresh approach was needed. She reveals how Circus Evolution has revolutionised circus marketing.
The local rugby league club proved to be the secret to getting a town with low arts engagement interested in a cultural programme, explains Patrick Fox.
Higher education institutions will be working with artists and micro creative enterprises in an attempt to improve the flow of information and expertise between the two sectors.
Despite a thriving theatre scene, Arthur Stafford couldn’t help but feel Manchester’s playwrights weren’t receiving the support they needed. So he set about changing things.
Opportunities for schools to connect with cultural organisations in the capital will be shared through a new online platform aiming to improve communication between the two.
The RSC’s Dream 16 will involve 18 professional actors, 14 amateur casts and 58 groups of schoolchildren. As rehearsals begin, Erica Whyman explains why she is both excited and daunted.
Membership of the Dance Touring Partnership has helped Warwick Arts Centre programme distinctive work and attract new audiences. Alan Rivett discusses the benefits and dangers of collaborative working.
A four-year Memorandum of Understanding outlines a potential model for collaboration between Arts Council England and local authorities if devolution progresses.
Where does our growing drive to work in partnership come from? And is it anything more than a way of sweetening the bitter pill of funding cuts? Dr James Doeser shares his thoughts.
The wider benefits of partnership-working in the cultural sector could be undervalued if the effectiveness of this approach is judged in purely economic terms, according to a new study.
Bridge organisations will initiate new partnerships that aim to help deliver a consistent cultural education to all children and young people.
Richmond Arts Service shared resources and took advantage of new funding opportunities by working in partnerships, say Pippa Joiner and Emma Cookson.
Jessica Bowles took students from The Royal Central School of Speech and Drama to curate the Prague Quadrennial's SpaceLab - and found their theatrical assumptions happily challenged.
How can literature and publishing thrive in the wake of Creative Scotland's review of the cultural sector, asks Andrew Ormston.
Partnerships with local authories are crucial to Orchestras Live’s work. Henry Little reveals how they’ve maintained relationships through challenging economic times.
A new report summarises discussions between academics and cultural practitioners about the nature of their working relationships.
With more and more arts organisations forming consortiums, Trevelyan Wright shares his tips on how to be a strong lead or a supportive partner.
With little known about how small arts organisations can most effectively use crowdfunding, Oonagh Murphy decided to find out through leading a mentoring and development programme.