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Gallery and theatre shops can learn a lot from high-street retailers. Corin Birchall shares his tips.
Wales’ national youth arts ensembles will join forces under a new business model in a bid to safeguard their future.
Director of Macclesfield’s Barnaby Festival, Karl Wallace, reflects on his career making big things happen.
How do you come to manage a community arts programme? Made in Corby’s Helen Willmott takes us through the steps of her career.
The brains behind Edinburgh Student Arts Festival, Briana Pegado, takes us on a tour of her working life.
Recognising that it “must do more” to encourage diversity in the arts, Arts Council England has announced four new diversity programmes and published workforce data for its largest NPOs.
What’s it like working front of house? And how much can you expect to earn? Zoe Hardie answers your most common questions.
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.