Do we know more about the worth of the arts than we did 30 years ago or have we been going in circles? Researcher Patrycja Kaszynska and consultant Ian David Moss discuss researching the value of culture in the UK and the US.
Changing the role of the box office at Vancouver’s summer Shakespeare festival from an operational one to a marketing one resulted in an increase in ticket revenue, says Ethan Joseph.
Collaborating with international partners can be rewarding, but how do you start? Emma Crook shares her expertise, from making contact and overcoming barriers to getting support.
The future is unclear for a professional development programme connecting artists in the two countries, following the poisoning of a former Russian spy and his daughter.
Soft power can create a vibrant image of a country and give it a higher status in global networks. But what part does culture play, and how can we measure its contribution, asks Ian Thomas.
Mira Kaushik reveals how an introduction to experimental Indian street theatre in the 1970s and conversations with a vagrant bohemian wanderer shaped her career.
The PISA test, traditionally used to compare literacy and numeracy around the globe, will measure creativity in recognition that these skills cannot be automated.
An immersive theatre performance lasted 13 hours – the time it took to fly from Heathrow to New York via Iceland. Kate Hargreaves tells the story.
In the lead-up to the opening of new venues in Hong Kong’s West Kowloon Cultural District, Anna CY Chan is embracing technology to broaden dance audiences and develop future talent.
From Manchester to Brazil and back again, Holly Prest, Artistic Director of carnival arts organisation Global Grooves, names those who have shaped and inspired her career.
Home Secretary Amber Rudd believes the changes will ensure the UK remains “at the heart of world culture”.
Communicating ideas clearly and maintaining artistic integrity can be difficult in any collaboration – let alone one that straddles language barriers. Ellen McDougall explains how the Gate Theatre overcame these challenges for its latest co-production.
Diplomats use exhibitions and other cultural events as core parts of their strategies to befriend and influence others, new research has found.
The UK’s Creative Europe desk, managed by the British Council, would be unaffected by the proposed cut.
While the EBacc may be causing concern for the status of the arts in UK schools, there are opportunities to ensure creativity is at the heart of education in lower-income countries around the world. Joe Hallgarten makes the case.
The Creative Practitioners Fund will be used to support research and development, and will be open to people working in the wider creative industries across England.
And... breathe: the Wuji Ensemble’s Law Wing-fai and Wong Chi-ching share their week of soul-cleansing silence and music-making in Hong Kong.
Programming both Cantonese and western opera, the Hong Kong Arts Festival has a challenge when it comes to audience development. Tisa Ho shares her strategy.
Delivering training to creative businesses across Africa, the Pacific and the Caribbean has taught Visiting Arts the value of forming relationships face-to-face, says Sophia Victoria.
A simple repertoire scoring system is far more effective than a crystal ball for predicting the popularity of a programme, setting budgets and segmenting an audience. David Reece explains how it works.