Julie Bécaud, now a researcher at the Scottish Maritime Museum, explains her first steps into the arts in the UK.
Why do some in the sector feel that babies and toddlers have little to offer as audiences or participants? On the contrary, says Charlotte Arculus, working with this group is never boring.
A non-verbal approach to music-making for the very youngest children offers a comfortable environment for new parents experiencing anxiety, as well as a joyful time for babies, says Hannah Baker.
Stratford Circus Arts Centre, based in an area of London with high levels of child poverty, has come to realise that providing low-cost hot meals can help it engage with local families. Tania Wilmer tells the story.
The opportunities for very young children to experience the arts in rural Devon are few, as well as inconvenient and expensive. How can less culturally engaged families enjoy live performances, asks Amy Bere.
Mark Doyle says that a clear sense of purpose has encouraged leading artists to participate in an ambitious programme of contemporary exhibitions in Rochdale.
Three cultural organisations in Wiltshire are now under one collective umbrella, giving them the opportunity to share data and cross-promote performances and offers, says Alice Young.
While touring three productions around the UK, Unlimited Theatre developed a model for working with venues to engage local audiences. Tessa Gordziejko explains the role of the local engagement practitioner.
The tendency for people from higher social grades to be more likely to attend arts events is down to a mismatch between current funding priorities and the public’s taste, rather than any lack of demand, an evidence review suggests.
Becoming London's first Borough of Culture next year is just the beginning of a fundamental change of approach for Waltham Forest, says Sam Hunt.
Just providing entertainment is no longer enough to draw in audiences. But by focusing on what people value, arts organisations can maintain strong relationships with customers amid competing demands for their attention, writes Dave Wakeman.
Screened versions of live performances are mostly made by large organisations and consumed by those that would attend the arts anyway.
How can you find out what your audience really thinks? Ron Evans recommends observing them using your very own spy network.
It is exciting to explore and own the biases that we impart to audiences, argues Bea Udeh.
What are the characteristics, interests and motivations of the over-65 demographic? Lucie Fitton reveals all.
Jo Marsh and Sarah Featherstone explain how relocating Wrexham’s art gallery to a market and parking complex has helped make the arts a part of people’s everyday lives.
When James Haddrell took on the directorship of Greenwich Theatre over ten years ago, he didn’t know if the company had a future at all. Here he charts its imaginative route to recovery.
By taking a robust approach to understanding the social class make-up of the workforce, the cultural sector can address entrenched inequalities. Dave O’Brien suggests a way forward.
“The largest set of aggregated data on cultural engagement anywhere in the world” is being made available for academic researchers.
Three outer city venues around Leeds were found to have generated committed core audiences in areas perceived as barren.