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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.
Monica Ferguson charts how Milton Keynes’ international arts festival has changed the way people view the new town.
Hastings is at long last celebrating its place in history with a festival of contemporary arts. Polly Gifford tells all.
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.
The key to building a loyal audience for a family arts festival? It needs to come from a place of integrity, says Rowan Hoban.
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.
Over £400k has to be raised every year to stage the Ageas Salisbury International Arts Festival. How do they do it? Toby Smith outlines his strategy.
Growing slowly and organically has helped Kidderminster Arts Festival respond to the needs of local artists and the community, says Loz Samuels.
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.