Approaches to assessing cultural value are stuck in a financially reductionist ‘value = money’ orbit. We should be examining people’s experiences of culture, and the meaning that comes from those experiences, says Julian Meyrick.
Now Co-Director of both a major arts centre in Madrid and BE FESTIVAL in Birmingham – roles he shares with his partner Isla Aguilar – Miguel Oyarzun reflects on his career to date.
The right approach to segmentation can drive sales and improve return on investment, as Tennessee Performing Arts Center in the US proved. David Reece and Timmy Metzner explain.
A group of actors with Down’s Syndrome travelled to Lesotho in southern Africa to help change attitudes to people with learning disabilities. Jon Dafydd-Kidd tells the story.
Do we know more about the worth of the arts than we did 30 years ago or have we been going in circles? Researcher Patrycja Kaszynska and consultant Ian David Moss discuss researching the value of culture in the UK and the US.
Changing the role of the box office at Vancouver’s summer Shakespeare festival from an operational one to a marketing one resulted in an increase in ticket revenue, says Ethan Joseph.
Collaborating with international partners can be rewarding, but how do you start? Emma Crook shares her expertise, from making contact and overcoming barriers to getting support.
The future is unclear for a professional development programme connecting artists in the two countries, following the poisoning of a former Russian spy and his daughter.
Soft power can create a vibrant image of a country and give it a higher status in global networks. But what part does culture play, and how can we measure its contribution, asks Ian Thomas.
Mira Kaushik reveals how an introduction to experimental Indian street theatre in the 1970s and conversations with a vagrant bohemian wanderer shaped her career.
The PISA test, traditionally used to compare literacy and numeracy around the globe, will measure creativity in recognition that these skills cannot be automated.
In the lead-up to the opening of new venues in Hong Kong’s West Kowloon Cultural District, Anna CY Chan is embracing technology to broaden dance audiences and develop future talent.
From Manchester to Brazil and back again, Holly Prest,Artistic Director of carnival arts organisation Global Grooves, names those who have shaped and inspired her career.
Communicating ideas clearly and maintaining artistic integrity can be difficult in any collaboration – let alone one that straddles language barriers. Ellen McDougall explains how the Gate Theatre overcame these challenges for its latest co-production.
