Jump to navigation
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.
When it comes to art and culture in Barking and Dagenham, local people call the shots. Miriam Nelken and Helen Ball share the story of the 100 Cultural Connectors.
Lorna Lee reveals how William Morris Gallery boosted its visitor numbers from 17,000 to 110,000 by engaging local people.
As new figures reveal more details of arts attendance patterns in England, the DCMS has placed the future of its ‘Taking Part’ survey under review.
The latest figures from the Scottish Household Survey reveal that non-classical music has overtaken theatre as Scotland’s favourite cultural activity.
With more and more arts organisations forming consortiums, Trevelyan Wright shares his tips on how to be a strong lead or a supportive partner.
Arts engagement has not increased in England since 2005/06, although there have been pockets of growth amongst those in rural areas, older people and those with a disability.
Is it worth explaining conceptual contemporary art to ‘old age’ pensioners? Anna Goulding’s research suggests it might be.
Outstanding projects in communication, engagement, and learning and participation have been highlighted at the prestigious annual awards.
In true Bertrand Russell style, Chrissie Tiller suggests that we turn the burden of proof on its head – and prove that the arts and culture are of no value to anyone.
What would happen if participation in the arts is extended to participation in its artistic decision-making, asks Leila Jancovich.