A student’s academic ability and the wealth of their parents are key indicators of the likelihood that they will get the chance to study arts subjects at A level in school, new figures reveal.
Across the UK, but especially in London, arts workers are considering their futures in the sector as salaries have fallen out of step with the cost of living.
How can arts organisations develop the best possible strategy for their customer relationship management and ticketing systems? Helen Dunnett suggests some steps to make the task easier.
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.
Arts Council England will employ nine people to each look after a region of England and provide advice and tailored digital support to organisations across the country.
Approaches to assessing cultural value are stuck in a financially reductionist ‘value = money’ orbit. We should be examining people’s experiences of culture, and the meaning that comes from those experiences, says Julian Meyrick.
The arts are important because they matter to us, and any attempts to further justify them lead to an impoverished and less human life, says Carter Gillies.
Wales takes a lead as arts professionals across all the countries of the UK are urged to take part in research that will shed light on low pay and earnings in the cultural sector.
Arts organisations are under growing pressure to demonstrate social impact. Emma Taylor-Collins explains how they can gain robust, high quality evidence to measure their success.
Data from the Government’s Taking Part survey also suggests that 2017/18 saw record levels of arts engagement in England as a whole, though changes to the questionnaire could be skewing the findings.
How can an arts organisation be sure it is working with schools that represent the community? Lucie Fitton and Ashleigh Hibbins suggest combining arts, population and schools data.
Arts Council England attributes the majority of the unprecedented 16.6 million fall to a drop in exhibition visitor numbers, but has declined to give details of how it arrived at these figures.
The 800k drop reported between 2017 and 2018 was due to errors in technology installed by research company Ipsos Retail Performance, which also provides services for other cultural organisations in the UK.
