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.
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.
Hebden Bridge Burlesque Festival has batted away council opposition and triumphed over floods to become the first burlesque festival to receive funding from ACE.
Mystery surrounds the festival’s closure, which comes just months after the organisation was recruiting for a new director and in spite of repeated projections of a budget surplus.
Families are key to audience development, but how do you attract them? Patrick Spottiswoode reveals how Shakespeare’s Globe plans to market a new festival to family audiences.
Festivals may no longer benefit from regular funding streams, but Owen McNeir is optimistic that they can still thrive on a mixed-income approach to fundraising.
