I have found myself thinking a lot recently about how cultural organisations can measure the way that audiences, visitors and participants experience what they have to offer. It all started when I discovered that Scottish arts organisations had asked for a session on measuring public engagement at the Scottish Cultural Forum in February. As I said in my last article (AP166), what we tend to measure is what we think people ought to be doing and feeling. Several researchers have observed that... more
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Issue 173: Buying Art , Issue 173: Focus on Performance Poetry
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Buying Art, Focus on Performance Poetry
30 Jun 2008How effectively can arts organisations measure the audience, visitor or participant experience? Heather Maitland reveals the evidence.
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30 Jun 2008
Rural regeneration and artist development go hand-in-hand with imaginative fundraising at Wysing, says Donna Lynas.
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Julian Rudd is disappointed to read about reported criticism of the depth and quality of outdoor and street arts events.
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30 Jun 2008
How effectively can arts organisations measure the audience, visitor or participant experience? Heather Maitland reveals the evidence.
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30 Jun 2008
The change from being an art organisation that is primarily a studio to one that includes a selling gallery requires a cultural shift, says Anna Wilkinson.
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Live literature needs support if touring and programming are to thrive, says Laura Stimson.
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A Berlin-based arts journal has created an effective market place for contemporary art, writes Julia Danila.
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30 Jun 2008
Research reveals a huge potential market for contemporary arts and crafts, as Elinor James and Gerri Morris explain.
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30 Jun 2008
Welsh language poetry stomps, Welsh rap and a National Poet for Wales are dancing in the footsteps of the ancient bards, as Peter Finch reveals.
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30 Jun 2008
Energy, diversity and immediacy may be strengths of performance poetry, but there are also issues of quality to consider, muses Sibyl Ruth.