Jump to navigation
How can we make the arts an everyday experience for everyone? Michael Eades explains why he believes in the power of grassroots arts.
Open House arts festival took a risk when it moved from Belfast to Bangor in Northern Ireland, but one that is paying off now that it’s making a difference again. Colette Fahy tells the story.
Volunteering in the arts should be an enriching experience, says Cathryn Peach. She shares five tips for designing programmes that motivate, empower and inspire volunteers.
Andrew Miller, a regular visitor to the Edinburgh Festival Fringe, shares his shocking experiences of inaccessible venues, poor seats and the city’s precarious pavements.
Some fringe festival productions win international touring contracts, but far too many lose out financially. Jessica Cheetham discusses a model that is offering affordable opportunities for artists.
Money for cultural content and skills development will be delivered across a five-year programme, starting in 2018.
MP Tommy Sheppard has echoed calls by a new union-led campaign for fair wages and working conditions at the Fringe festival.
How can festivals promote a zero-tolerance approach to crime, including sexual assault, and what can be done if incidents do occur? Renae Brown shares some advice.
Programming both Cantonese and western opera, the Hong Kong Arts Festival has a challenge when it comes to audience development. Tisa Ho shares her strategy.
Scotland’s year-round programme of cultural events attracts huge numbers of international visitors, but it takes careful strategic planning and continuous improvement, says Stuart Turner.
How do fringe festivals ensure quality when anyone can choose to stage an event? Cath Mattos reveals her approach at the Wandsworth Arts Fringe.
Ottilia Ördög goes back to her roots to name the inspirations in her life.
As an arts festival with an explicit social change mission, Refugee Week faces some unique challenges. Emily Churchill Zaraa discusses how it tackles them head on.
Kevin Edward Turner talks through the stages of his choreographic process for Company Chameleon’s latest work, which explores his own mental health.
Damning research has woken Australia up to the situation for indigenous artists in the country. It’s time for their voices to be heard, says Jacob Boehme.
As the funding landscape shifted, universities emerged as an ideal partner for creative producers Threshold Studios. Uzma Johal and Barry Hale reveal how they have been collaborating with the University of Lincoln.
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.
Productions chosen for the Made in Scotland showcase gain a stamp of quality, but how are they selected? Wendy Niblock asks members of the panel what they are looking for.
How do you market classical music to people who've never been to a concert? Thomas Kemp offers some practical advice for anyone looking to launch an arts festival.
A large-scale study has found that the growth of the festivals is benefiting the tourism and hospitality sectors.