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.
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.
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.
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.
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.
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.
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.
The Watermill Theatre’s new box office management system has increased ticket sales and donations, and encouraged customers to book earlier, says Libby Penn.
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.
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”.
Understanding who visits your website is key to developing audiences. In these infographics, The Audience Agency reveals what its tools can tell us about online arts audiences.
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.
As many organisers of outdoor arts events have a love–hate relationship with collecting data from visitors, Vishalakshi Roy offers some advice on how to make it a more positive experience.
A new approach to box office management has shifted the revenue balance at Blackpool Grand Theatre firmly toward ticket sales and greater commercial independence, says Libby Penn.
The arts sector struggles to articulate its impact, while the UK’s video games sector has done it very effectively. Stephen Hignell summarises what arts organisations can learn from their success.
