Made in Corby, a consortium of community groups and venues, is making radical and brave efforts to engage communities in the arts, says Simon Mutsaars.
Hye-Kyung Lee traces the history of arts marketing though three different phases, each posing new challenges and requiring arts marketers to rethink their aims and remits.
A recent conference explored the value of music-making with early years and key stage 1 children. Fraser Wilson and Emily Moss describe the event’s discussions and activities.
Peggy Mulongo recalls the challenges and joys of working with refugees and asylum seekers from the Democratic Republic of Congo on an oral archive and performance project.
The threat to postgraduate degrees in specialist arts subjects is growing, as public sector cuts deplete training budgets and universities start to close their smaller courses in favour of more lucrative undergraduate programmes.
Julie’s Bicycle and BOP Consulting have conducted a survey on leadership and environmental sustainability. Alison Tickell summarises the findings and plans the next steps.
A huge vocal work is premiered this weekend in Birmingham, followed by performances in Berlin and London. Stephen Newbould describes how it has come together.
Bethany McDonald Shepherd believes that students must develop their business knowledge and practice, and the Commercial Education Trust Entrepreneurs’ Award is helping them to do just that.
Can our theatres be considered as ‘community theatres’ and be listed as Assets of Community Value? Mhora Samuel discusses the significance of this question.
How does a tiny Georgian theatre survive in a working class town? Esther Harris talks to Richard Stride, owner of the Groundlings Theatre in Old Portsmouth.
Huddersfield Contemporary Music Festival has an enviable international reputation but how does it go down with the locals? Sarah McWatt tells of activities and opportunities designed to reverse preconceptions.
