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Tate faces falling visitor numbers despite overall growing attendance at cultural venues in both England and Scotland.
Robin Simpson responds to Liz Hill’s call for a new approach to audience development in the arts.
From a small festival born of community need, to an international agency for Chinese contemporary art, Zoe Dunbar tells the story of CFCCA.
A new survey launched by Sport England will collect the first local-authority-level data on arts attendance and participation in England since 2009/10.
The local rugby league club proved to be the secret to getting a town with low arts engagement interested in a cultural programme, explains Patrick Fox.
Physical access and social isolation emerge as key factors linked to a decline in arts engagement among older people.
The RSC’s Dream 16 will involve 18 professional actors, 14 amateur casts and 58 groups of schoolchildren. As rehearsals begin, Erica Whyman explains why she is both excited and daunted.
Sales of CDs and vinyl may not be suffering as much as some predicted as the popularity of online streaming continues to rise, new figures suggest.
The arts sector is not adopting mobile technology fast enough, says Tim Plyming, who sees it being used not just to sell tickets but to enhance the visitor experience.
The third public online discussion to shape the upcoming White Paper on culture has been launched, but engagement in previous discussions has been limited.
Guidelines for gathering feedback from children and young people are helping arts organisations to improve their programmes.
Allegations that Liverpool's Everyman & Playhouse Theatre are failing to embrace the local community couldn't be further from the mark, says Rebecca Ross-Williams.
Anne Gallacher describes the impact of an ongoing relationship between Luminate, Scotland’s creative ageing festival, and Age Scotland.
Daycare centres may not be grand venues, but that doesn’t mean art events staged in them should not be ambitious, says Paul Clark.
Older people want to be part of an intergenerational community not a ‘crinklies camp’. Stephanie Fuller shares this and other tips on how to reach out to older audiences.
Do theatres really believe their own soundbites about being community-led, open and accessible buildings, asks David Sedgwick.
Working with partner universities in Barcelona and Warsaw proved to Janet Hetherington that practical training is key to a rich, collaborative learning environment.
A pilot project in rural North Yorkshire believes it’s landed on an effective and affordable model for delivering music tuition to children in isolated areas.
CashBack for Creativity has been funded until 2017 with an increased budget after having success at encouraging arts engagement in Scotland’s disadvantaged communities.