Julie Bécaud, now a researcher at the Scottish Maritime Museum, explains her first steps into the arts in the UK.
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.
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.
Baker Richards helped the Royal Opera House kick-start a revolution in evidence-based marketing that increased revenues by £400,000 in six months. Tim Baker talked to Lucy Sinclair about the value of using data to drive decision-making.
A British Council Wales report says that “small adjustments to the current system will not yield the necessary major changes”.
Effectively monetising creative work ensures that artists can continue to do what they love. Ros Gilman offers advice on pricing, marketing and legal issues.
Arts organisations could be doing a lot to tempt potential audiences with a taster of their work. Steve Wallace explains how video could take more advantage of society’s growing visual literacy.
London galleries were hard hit last year, as school children admissions fell for the fourth consecutive year.
The right approach to segmentation can drive sales and improve return on investment, as Tennessee Performing Arts Center in the US proved. David Reece and Timmy Metzner explain.
Five London venues have jointly hosted a one-woman show – and then pooled the box office takings. Kaya Stanley-Money explains how it worked.
Bespoke segmentation modelling helps Sadler’s Wells talk to its audiences with personalised precision across venues and genres. Sebastian Cheswright Cater explains how.
With all the reliance on digital technology over the past decade, are arts organisations as digitally mature as they should be, asks Hannah Mason.
How do we get to the point where we are truly collaborating? Debbie Richards describes a project that sought the benefits of collaboration between fundraisers and marketers.
Purging inactive subscribers from Chichester Festival Theatre’s email list has helped improve the effectiveness of its marketing campaigns. Alice Young explains how.
London’s West End is full of receiving theatres, but the Jermyn Street Theatre has recently rebranded and restructured itself as a producing house. Tom Littler tells the story.
How did Sadler’s Wells manage to increase its membership and ticket sales while cutting discounts and other incentives? Sebastian Cheswright Cater shares the secrets of their success.
Messages to arts audiences tend to focus on getting people to attend, but do little to trigger the strong feelings that will create long-term loyalty. Ron Evans explains why – and how – this should change.
Fabrica in Brighton has raised extra income through venue hire for some years, but it needed a more commercial approach to maximise its potential. Anne Rupert tells the story.
It’s inevitable that you will get some bad reviews and customer complaints on social media, but how should you respond? David Burns offers his advice.