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How do you get from first gig to internationally recognised festival? Amy Pearce of EFG London Jazz Festival shares her tips.
Is an arts organisation dedicated to LGBT issues still necessary or even relevant? Yes, says Neil Anderson, so long as it moves with the times.
A production company run by two women with seven children between them is rewriting the rules that separate work and family life, explains Sarah Bird.
As she joins Manchester’s HOME, Sheena Wrigley looks back over the course of her career.
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.
Louise Emerson explains how she ended up as CEO of Cheltenham Festivals, after beginning her career designing broadband amplifiers.
With so many festivals in the UK what makes for a successful and sustainable festival? Holly Lombardo discusses some vital building blocks.
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.
Lindsey Butcher discusses the issues that emerging aerial dance artists face in an artform that itself is just emerging.
Jenny Harris, a freelance creative producer, describes her career in music and arts festivals.
Meurig Bowen sees no problem with the current proliferation of festivals in the UK.
Why do we need festivals? In the first of two articles about festivals, Holly Payton-Lombardo asks if we simply enjoy coming together to celebrate culture − or is it more than that?
Maggie Clarke believes that this is a good time for outdoor arts, with investment, partnerships and networks raising the bar and resulting in a raising worldwide profile.
Gillian Taylor looks at how festivals can involve communities in making site-responsive works that create a sense of pride in lost and forgotten places.
Mark Fisher charts the global success of ‘Made in Scotland’, the programme which showcases dance and theatre companies at the Edinburgh Festival Fringe.
Christopher Maughan values this reflection on the dichotomy between commercial and public theatre.
2012 was a tricky year for the UK’s many music festivals but Steve Heap reports on how they are determined to ride out the storm, with the understanding of the artists and their agents.
The British Arts Festivals Association’s Capacity to Endure conference last year focussed on how festivals should be valued as an integral and sustainable part of society.