Festivals are present in almost every space in every town across the globe. They reside in the fabric of our societies and they reach millions and millions of visitors every year. At one end of our country we have Brighton, which presents over 60 festivals and cultural events every year, and at the other there is Edinburgh, named as the Festival Capital of the World. In between, above and around these destinations there are festivals in all different shapes, sizes, disciplines and quirks. We... more
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Issue 277: Reaching family audiences
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Reaching family audiences
02 Oct 2014With so many festivals in the UK what makes for a successful and sustainable festival? Holly Lombardo discusses some vital building blocks.
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Also in this feature
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29 Sep 2014How can the arts, and ballet in particular, show that they represent value for money? David Jays compares a trip to the theatre or ballet with some similarly prestigious events.
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29 Sep 2014Roberta Comunian argues that traditional views on the benefits of arts sponsorship to business have been far too limited, as demonstrated by some recent collaborations in Italy.
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29 Sep 2014What will happen when we only like what we already know? Ed McKeon questions the filtering systems used online which limit the range of information we receive.
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25 Sep 2014Which is more influential over repeat attendance – performance or venue? Hannah Mitchell reveals some of the surprising findings that emerge when audiences are invited to complete a survey about an event they’ve just attended.
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22 Sep 2014Mahmood Reza recommends two performance management models that offer arts organisations a means of measuring areas that are of genuine importance to them.
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22 Sep 2014There have been very few progression routes in the performing arts for young, disabled people who want to make a career in the arts, but Claire Hodgson is aiming to change that.
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17 Sep 2014Applying for Creative Europe funding for a Cooperation Project requires real commitment and many hours devoted to completing the application form, warns Lorraine von Gehlen.
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15 Sep 2014Moving her artist management company to Berlin has allowed Natalie Richardson to work among like-minded experimental artists.
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15 Sep 2014Good performance management can improve effectiveness and efficiency, but Mahmood Reza says that is dependent on the right performance measures being in place.
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08 Sep 2014‘Family-friendly’ might not be a term that David Brownlee likes very much, but he knows that venues and events have the potential to appeal much more to family audiences.
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11 Sep 2014Creating and producing family theatre has led Harper Ray to reconsider his audience and cast aside some misconceptions.
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08 Sep 2014Within the past year the RSC has integrated relaxed performances into its season planning. Jacqui O’Hanlon tells how this has come about.
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08 Sep 2014Kazzum stopped creating work for young audiences in indoor spaces to focus on the outdoor arts sector. Daryl Beeton explains why.
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08 Sep 2014Hosting relaxed performances requires thorough staff training and partnership working to target audiences, say Karen Townsend and Zoë Briggs.
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08 Sep 2014When Terry O’Donovan presented his latest musical show as a work in progress to five year olds they looked bored. Now it’s a manic and absurd experience for all, just as he wanted it to be.
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08 Sep 2014Visual arts activities for young people are more important than ever, since the decline in the teaching of arts subjects in schools, says Jane Sillis.
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08 Sep 2014Patrick Spottiswoode outlines how the Globe Theatre in London is continuing a long tradition in adapting Shakespeare’s plays for the young.
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08 Sep 2014Peter Glanville is passionate that children’s theatre should be of the highest quality attracting the best actors and creative teams.