Losing NPO funding was devastating for Dance Manchester, but it has liberated the company to pursue its own path driving placemaking through outdoor work, says Deb Ashby.
For people reluctant to pay to see a full-length Shakespeare play, the RSC’s open-air, non-ticketed theatre staging amateur productions offers a relaxed alternative, says Nicola Salmon.
Alison Fordham explains how IF: Milton Keynes International Festival’s programme of outdoor events is a key audience development and placemaking tool for the town.
Partnering with Areas of Outstanding Natural Beauty has created opportunities for Activate to bring exciting contemporary art to stunning outdoor settings. Kate Wood explains how.
A research project examining Leicester’s 24 arts festivals uncovered interesting insights into audience behaviour and preferences. Richard Fletcher discusses the findings.
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.
Has music become too pigeon-holed into distinct genres? Tony Haynes asks how we can truly promote cultural diversity when the opportunities for creativity are so restricted.
Hull Truck Theatre’s pop-up box offices in local supermarkets sell tickets to new audiences and also create valuable community relationships. Magda Moses tells the story.
Bespoke segmentation modelling helps Sadler’s Wells talk to its audiences with personalised precision across venues and genres. Sebastian Cheswright Cater explains how.
Why would a cultural venue install a swimming pool? Alexia Jacques Casanova charts the evolution of inclusive and participatory practice in museums and shares advice from Bozar in Brussels.
Presenting theatre in pubs and social clubs can help breathe life into communities and engage non-arts audiences. Rod Dixon explains how Red Ladder has created a touring model dependent on local promoters.
Open House arts festival took a risk when it moved from Belfast to Bangor in Northern Ireland, but one that is paying off now that it’s making a difference again. Colette Fahy tells the story.
On the brink of the new funding year, Anne Torreggiani takes a whistle-stop tour of the improvements The Audience Agency is making to Audience Finder, to better meet the needs of its users.
