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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.
A continuing lack of detailed online access information is stopping deaf and disabled music fans from buying tickets.
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.
Director of Macclesfield’s Barnaby Festival, Karl Wallace, reflects on his career making big things happen.
Being disability-friendly isn’t just about physical accessibility. Alistair McDonald explains how Chase Park festival ensures it is inclusive and welcoming of everyone.
When Torbay’s annual Agatha Christie Week was expanded into a major literature festival things took an unexpected turn. Anna Farthing investigates.
In 2013 Drew Hemment got the call – the Singapore government wanted his help staging an arts and technology festival. He explains what happened next.
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.
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.