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Kully Thiarai reveals why remembering to be scared and learning to bake have driven her through her career and to her latest role, Director of Cast in Doncaster.
With a background in commercial marketing, Adam Buss recognises the power of Audience Finder. He tells Katie Flaherty how he has been using it to QUAD’s best advantage.
Time traveller Steampunk Bob has become (rather surprisingly) a primary school resource for teaching social, moral, cultural and spiritual values, writes Tina Corri.
Lorna Hosler tells us about the people and experiences that helped her on her way to becoming Executive Director of Clod Ensemble.
Susan Jones explains how innovative arts housing can enable older people to express themselves creatively late into life.
Richmond Arts Service shared resources and took advantage of new funding opportunities by working in partnerships, say Pippa Joiner and Emma Cookson.
In an era of data sharing, Marcus Romer asks who audience data belongs to: touring companies or venues?
Making a name for yourself on the critic circuit is no simple task – and getting off the ground can be the hardest part of all – but Carl Woodward has some practical advice on how to do just that.
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.
Is an arts organisation dedicated to LGBT issues still necessary or even relevant? Yes, says Neil Anderson, so long as it moves with the times.
The proportion of students studying drama, music and dance is consistently lower for children from backgrounds of high deprivation than their more well off peers, according to new figures.
Christy Romer spoke to four leading figures across the arts sector to ask for an answer - in their own words - to a simple question: Does the arts have a diversity problem?
After collecting more than 100,000 survey responses, Leo Sharrock and Helen Palmer can reveal the main reason people attend the arts.
Catherine Love explains why giving emerging artists no-strings-attached support is so important.
Jobs in the arts are growing at a higher rate than in any other area of the creative industries, but new figures from the DCMS lay bare the scale of the diversity problem.
What better place to learn about using the arts to help older people and those with dementia than in Japan, where a quarter of people are over 65. Nick Ponsillo reports on his recent trip.