Creating a network of ambassadors to promote culture and creativity in schools in the north east of England has been a bigger and more complex job than Ednie Wilson first anticipated.
A very wise man at a recent lecture on educational research at Newcastle University proposed that for every complex issue there is a clear and simple answer… and it is wrong.
My journey of developing the Northern Cultural Ambassadors Network began with action research undertaken in Gateshead schools in 2003. The research began with developing a creative self-assessment tool and an arts auditing tool to judge how creative a school is. It gathered baseline information about culture and... more
Jodi Myers explores the complexities of musical theatre today and why it needs meaningful investment to give new work a greater chance of surviving.
Dany Louise looks into the reasons why many cities welcome biennials of art events while others are less receptive.
Stage One’s training and support helped Tracey Childs become a theatre producer and is doing the same for apprentice producers at a number of UK theatres.
For the London International Festival of Theatre customer data is power. Libby Penn describes how taking control over ticketing and audience data was like opening a treasure trove for the London International Festival of Theatre.
Toby Lowe believes that discussions about the quality of work by artists in the participatory sector are useful for others who operate in similar uncertain and complex circumstances.
By bringing the findings of academic research into the wider cultural sector, CultureCase is providing the evidence that helps arts professionals make a stronger case for support. James Doeser looks back on the impact of its first year.
Steph Fuller argues that Creative People and Places projects will take time to take effect and therefore criticism of their impact is premature.
Convinced that the current trend towards an instrumentalist approach to arts funding underestimates the true value of the arts to society, Graham Henderson urges arts organisations to seek new sources of earned income with greater confidence.
An in-depth project examining Sadler’s Wells’ ‘customer journey’ has resulted in a much more relevant and targeted approach, which should ensure that customers stay happy and, crucially, return. Hannah Mitchell reports.
Amy Golding and Kay Hepplewhite report on recent research to find out what a vibrant fringe theatre scene needs.
Theatre in education has seen many changes since it was first conceived in Coventry fifty years ago. Justine Themen tracks its history from the original aim to develop drama appreciation in schools.
With little known about how small arts organisations can most effectively use crowdfunding, Oonagh Murphy decided to find out through leading a mentoring and development programme.
REP’s Children, a project offering free theatre tickets for babies and their families for ten years, was so successful first time round that it had to be repeated, says Steve Ball.
Matt Baker explains how young people in the Chester area are being encouraged to get involved with theatre, dance and music, through a programme working closely with schools.
The Scottish Government’s youth arts strategy aims to increase engagement in the arts as well as tackle inequality. Fiona Hyslop outlines how it has evolved.
Recent research looked into the value young people in a deprived area of London place on education and participation in the arts. Catherine McNamara discusses the findings.
Through Tate's Circuit programme, galleries across the country are illuminating the voices of young people and delivering significant cognitive, social and emotional benefits, says Mark Miller.
A new strand to Theatre Royal Winchester’s learning and participation work sees young people developing their skills as theatre critics, says Carl Woodward.
Orchestras Live invited a group of 16-22 year olds to produce a concert with the City of London Sinfonia. Jan Ford was impressed by their creativity, imagination and enthusiasm.
Youth Dance England’s Ambassador programme offers young people the chance to satisfy their passion for dance as well as develop valuable career skills, says Claire Somerville.
Inviting Sir Harrison Birtwistle as composer in residence to a new music festival had the desired effect on the student performers and composers, says Richard Causton.
Toby Ealden tells how he has thrown out the theatrical rulebook to physically immerse audiences in a teenage house party.