A key barrier to growth in the immersive technology industry is a lack of content. It’s a gap tailor-made for the cultural sector to step into, says Tonya Nelson.
What does climate change mean to the generation it will impact most? Brad McCormick explains how primary schoolchildren have been working with climate scientists to develop their own play.
Opening up decision-making about what art gets made and by whom doesn't lead to people 'playing it safe', but to programmes that engage more people, more deeply. Tamsin Curror examines the evidence.
A welcome surprise of five-year funding provided the opportunity for Cardiff's Sherman Theatre to diversify its audiences, boost volunteering and develop a relationship with a time credit network. Julia Barry tells the story.
When Ron Evans started thinking about how to make post-show talks more appealing and accessible, he found audiences hungry for new ways of engaging with the arts.
Biennials have emerged as a key influence in contemporary exhibition-making. Shwetal Patel and Sunil Manghani explain how a more informal approach to art opens up new experiences and audiences.
How can arts and culture reach a broader audience that more accurately reflects local communities? Sarah Boiling explores how to change the pattern of who engages with the arts.
How can arts organisations develop the best possible strategy for their customer relationship management and ticketing systems? Helen Dunnett suggests some steps to make the task easier.
The city region authority is offering a prize of £800 for a “simple but visually impactful” design to be used across print and online promotional materials for the £200k a year initiative.
As Tate Modern's latest art installation starts to melt away, AP's Jonathan Knott reflects on how art can play a role in tackling environmental challenges.
When invited to carry out a creative evaluation of the first three years of Creative People and Places, Sarah Butler decided that the best approach was to have fun.
While touring three productions around the UK, Unlimited Theatre developed a model for working with venues to engage local audiences. Tessa Gordziejko explains the role of the local engagement practitioner.
The tendency for people from higher social grades to be more likely to attend arts events is down to a mismatch between current funding priorities and the public’s taste, rather than any lack of demand, an evidence review suggests.
Just providing entertainment is no longer enough to draw in audiences. But by focusing on what people value, arts organisations can maintain strong relationships with customers amid competing demands for their attention, writes Dave Wakeman.
Approaches to assessing cultural value are stuck in a financially reductionist ‘value = money’ orbit. We should be examining people’s experiences of culture, and the meaning that comes from those experiences, says Julian Meyrick.
The city theatre in Ghent, Belgium has a new rulebook, aiming to open it up to the independent scene and international touring. Milo Rau introduces his 'Ghent Manifesto'.
