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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.
How did three young people who chose not to go to university end up running one of the most innovative cross-artform festivals in Cambridge?
Disabled music fans and their assistants attending events such as Glastonbury and Latitude Festival brought an estimated £7.5m to the economy in 2015.
Cardiff’s first international festival celebrated what Wales is most famous for – the human voice. Graeme Farrow reflects on the launch of the biennial cultural event.
Home Live Art’s interactive literary salon event sold out quickly, but when she met the audience Mimi Banks was surprised. She reflects on the difficulties of marketing interactive live art.