GDPR and fundraising: Everything you need to know

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21 Sep 2017

Some arts charities are unsurprisingly nervous about the new General Data Protection Regulation that comes into effect next year. Pamela Johnson offers trustees guidance on how to comply.

How to… use Google Analytics more efficiently

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14 Sep 2017

Too many arts and cultural workers are wasting time wading through Google Analytics data. Sara Lock shares some tips on how to be more focused.

Meaningful segmentation

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27 Jul 2017

Is segmentation really the key to inclusivity and resilience? Oliver Mantell demonstrates how bespoke and off-the-shelf tools can help develop approaches for multiple audiences.

A burden and an opportunity

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26 Jul 2017

New data protection regulations come into force next May, and while some may see this as a burden, Live Music Now is seizing the opportunity to renew contact with its supporters. Evan Dawson and Emily Roberts explain how they are ensuring compliance. 

Can less really be more?

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13 Jul 2017

As more and more local authorities reduce funding and staffing for the arts, how can we ensure they have the capacity to fulfil their cultural responsibilities? Jane Wilson shares her thoughts.

On the tourist map

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08 Jun 2017

Cultural organisations are missing a trick by not tapping into the tourist trade, but a successful strategy involves more than a new leaflet. Anne Torreggiani and Helen Palmer share their advice.

What are we counting?

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25 May 2017

Roger Tomlinson has more questions than answers about the quality metrics system that Arts Council England’s larger NPOs will soon be required to use.

The screening effect

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18 May 2017

Live-to-screen may offer plenty of opportunities for engagement on multiple channels and platforms, but we need more and better analysis to start to fulfil its potential, says Anne Torreggiani.

Seeing the future

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18 May 2017

Need to forecast attendances or ticket sales? Jenny Scudamore explains how to make better predictions.

Making the ask easier

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24 Apr 2017

Brewery Arts Centre increased its charitable income from box office donations by more than 40% when it approached customers at the point of sale. Libby Penn explains how this was achieved.

Bridging the generation gap

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06 Apr 2017

Data shows that audiences for many artforms are ageing. Anne Torreggiani calls on the arts sector to anticipate and accommodate the changing needs of younger generations.

Sharing touring data

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30 Mar 2017

After updating its approach to data collection and sharing, Sadler’s Wells noticed a surge in email sign-ups for its visiting companies. Sebastian Cheswright Cater and Matt Kirby tell the story.

Audiences for classical music

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02 Mar 2017

Catherine Bradley reveals five things you might not know about classical music audiences, discovered through Audience Finder data. 

Why Quality Metrics is a really bad idea

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24 Feb 2017

Liz Hill tells NPOs, ‘just say no’ to a fundamentally flawed scheme that will reveal more about the nature of the audience than the quality of an arts organisation’s artistic work. 

A powerful platform

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23 Feb 2017

The Watermill Theatre’s new box office management system has increased ticket sales and donations, and encouraged customers to book earlier, says Libby Penn.

In pursuit of the holy grail

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19 Jan 2017

Is it possible to double the response rate you get from your direct marketing and save money at the same time? Tim Baker explains how the CBSO did just that. 

The value of insight on tour

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12 Jan 2017

A new tool offers touring companies access to valuable audience data. Penny Mills explains how they are using it to plan and promote tours.

Women, disabled and BME still struggle to reach senior arts roles

Baltic Centre for Contemporary Art
16 Dec 2016

Concerns have been raised about the quality of diversity data, with Arts Council England Chief Executive Darren Henley labelling under-reporting by NPOs “extremely disappointing”.

Data to measure diversity

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03 Nov 2016

The first full year’s worth of data from the Audience Finder survey raises important questions about the inclusivity of arts organisations, reports Anne Torreggiani

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