A Select Committee on the rural economy will report back next year on the sorts of interventions needed to support local amenities and tackle deprivation.
A new model of digital distribution is giving rural communities the chance to see filmed performances of dance, opera and theatre at affordable prices. Denzil Monk explains how.
It’s not enough for urban arts companies to tour to rural areas - we need to support more rurally based organisations, argues Ralph Lister.
Is it possible that our impression of rural touring is outdated and even cynical? Anne Torreggiani and Jonathan Goodacre reveal how wide-ranging it is and who the audiences are.
New research found audiences in rural Lincolnshire are hungry for culturally diverse theatre and dance, but the provision isn’t there. Arya Madhavan and Sreenath Nair explore the issues.
When Clod Ensemble decided to work on a completely different scale and tour a one-woman show to rural Scotland, it was faced with a creative challenge. Roxanne Peak-Payne tells the story.
Rural touring can be exhausting and unpredictable, but the key to making it a rewarding, rich experience is finding the right people to work with, says Jack McNamara.
A research project that toured an Indian play around Lincolnshire has uncovered challenges around staging and touring diverse arts in rural areas.
Willow weaving and tintype photography workshops: Kalila Storey takes us through her week working on creative projects with communities in South Derbyshire for People Express.
Young people in remote parts of Scotland have gained the skills to organise rural tours in a project designed to generate a new breed of arts promoters. Jo McLean describes their experience.
The knowledge-sharing Small Venues Network intends to take on an additional 20 members later this year.
Music Hubs could save an average of 476 hours driving a week by switching to online teaching, research suggests.
Volunteer promoter Tom Speight writes about the joys of hosting professional performing arts right on his doorstep as part of a rural touring scheme.
At The Watermill Theatre, the cast lives on site – alongside ducks and chickens – for the whole production process. New Artistic Director Paul Hart reveals the effect on the company.
A lack of business skills and access to equipment was holding artists in Dumfries and Galloway back. Clare Hanna explains the origins of Upland and how it supports artists.
Some arts attenders are more ‘promiscuous’ than others, the Audience Agency’s data can reveal.
How and why do rural touring companies thrive? Sue Robinson reviews the latest contribution from Francois Matarasso, a writer who has been helping her to answer similar questions for 20 years.
Rachael Griffin tells us who has inspired her most.