Interest in a Swedish theatre’s subscription scheme was plummeting until it reworked it to reward frequent and early bookings. Jenny Bång outlines the changes it made.
The rise of the selfie has created new problems for those managing ‘dark tourism’ sites, such as Auschwitz-Birkenau. Félicie Kertudo examines how they can promote themselves ethically.
How does the Director of a PR firm juggle staying in touch with clients, getting to press nights and meeting journalists by the fireside? Chloé Nelkin offers a peek into her working life.
Graeae has successfully developed D/deaf and disabled audiences across the UK. Richard Matthews explains the principles and strategies that guide their marketing work.
PR is about so much more than column inches, but how do you measure a campaign’s success? Amy Finlayson guides us through her straightforward approach.
If you only have one level of membership you’re missing a trick. Debbie Richards explains how Baker Richards helped Compton Verney gain thousands of additional members by expanding its offer.
Aside from pockets of innovative practice, many arts organisations are at a loss as to how to engage young people, who behave and think quite differently to older marketers and programmers. Lucie Fitton offers an insight into their world.
What should you look for in a guru? As she leaves the Arts Marketing Association, Julie Aldridge reveals who has helped and guided her career – and how.
Is it possible to double the response rate you get from your direct marketing and save money at the same time? Tim Baker explains how the CBSO did just that.
All audiences benefit from inclusive design, but most importantly it helps disabled and older people. Jennifer Tomkins and Jo Verrent share tips on how to get it right.
From trailers and vox pops to backstage sneak peeks, the arts sector produces reams of video footage, but what impact does this content have on audience behaviour? Andrea Perseu shares his recent research.
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.
An established brand has helped arts organisations increase engagement and fundraise. But how do you begin developing a brand? Kirsten Abildgaard offers her tips.
Disappointed with the aggressive nature of today’s arts marketing, Ben Walmsley explores the potential benefits of a more direct form of interaction with audiences.