Through the Circuit network, 15 to 25 year olds create arts events for other young people. Rachel Escott reveals what they’ve learned about marketing to this under-engaged audience.
How can you attend a festival if you can’t leave your house? Michael Eades describes a project bringing the festival experience to people with dementia.
From engineering to managing cream teas at the National Trust and now fundraising for Cheltenham Festivals, Rod Hebden tells us about his career so far.
Being disability-friendly isn’t just about physical accessibility. Alistair McDonald explains how Chase Park festival ensures it is inclusive and welcoming of everyone.
David Stevenson deplores the way that a subjective decision to grant public money to a commercial company is being dressed up as the evidence-based decision of an objective funding system.
Programming a music festival with over 300 events can’t be easy, but Donald Shaw knows exactly how it’s done. He gives us the low-down and shares his top tips for making it as a programmer.
Jessica Bowles took students from The Royal Central School of Speech and Drama to curate the Prague Quadrennial's SpaceLab - and found their theatrical assumptions happily challenged.
A new strategy report advises Edinburgh’s festivals to improve their digital offering if the city is to avoid complacency and remain a cultural world-beater.
For the London International Festival of Theatre customer data is power. Libby Penn describes how taking control over ticketing and audience data was like opening a treasure trove for the London International Festival of Theatre.
As one of the oldest cultural networks in Europe, the European Festivals Association’s mission has always been centred around artistic quality and long-term impact, says Kathrin Deventer.
It’s not what you know…
David Stevenson deplores the way that a subjective decision to grant public money to a commercial company is being dressed up as the evidence-based decision of an objective funding system.