Participation in portrait painting
A series of portrait-painting events exploring and celebrating diversity engaged both live and online audiences. Mandy Fowler expl…
Posts
Video: My creative process
Kevin Edward Turner talks through the stages of his choreographic process for Company Chameleon’s latest work, which explore…
Juggling and jigsaws
As a small company with no permanent dancers, Shobana Jeyasingh Dance productions are tricky to coordinate but ultimately rewardin…
A powerful platform
The Watermill Theatre’s new box office management system has increased ticket sales and donations, and encouraged customers…
Sharing the stage
Realising they shared values and aims, Sage Gateshead and Newcastle United Foundation decided to team up. Wendy Smith describes a…
Power shift
A new diversity programme will shift power and resources to where they can be most effective. Dawn Walton explains the t…
Emotional responses to music
Manchester Camerata’s work with people with dementia recently took its musicians to Tokyo to deliver training. Lucy Geddes r…
The power of the lullaby
A fascination with lullabies has led Supriya Nagarajan to produce inter-cultural performances and education projects around the wo…
Give us a goal!
Taking inspiration from the local community for a new musical about a nightclub proved so successful for Oldham Coliseum that they…
The trouble with telling stories
Selling new work to audiences and venues can be difficult enough, but how do you sell a new artform like storytelling? Naomi Wilds…
A winning formula
The Orchestra of the Swan has found a formula for boldly commissioning new works that pleases both composers and audiences. David…
Creating characters and dilemmas
Theatre can be a powerful training tool for community workers. Louise Heywood describes Geese Theatre Company’s work with cr…
The carnival lives on
The first Mossley Light Festival may have transformed the northern town for just one night, but the change in the community will b…
Touring Scottish classrooms
Every child in Scotland will see a performing arts production in their school each year if the National Theatre of Scotland’…
Going live
Facebook Live has helped The National Gallery get closer to a worldwide audience. Tamara El Assawi shares what they’ve learn…
Private art in public places
Many great public art collections were founded upon the bequests of private collectors, but how can galleries engage the collector…
Distant but not disconnected
Creative entrepreneurs in remote regions risk isolation, but it doesn’t have to be that way. Aisling Murtagh explains how a…
A community of equals
Firmly held core values and an awareness of potentially excluding behaviour have been key to the success of Pallant House Gallery&…
From transactional to philanthropic
When member benefits proved uneconomical, Northern Ballet decided to stop offering them. Crys Whitewoods explains how the decision…
A day at an exhibition
On Takeover Day a group of sixth-form students took responsibility for running an exhibition at London’s Guildhall Art Galle…
Learning to dance
As a growing number of children are being home-educated, Christopher Connolly explains how Dance Manchester is reaching out to thi…
When the clocks turned back
A storytelling project that invited young people to challenge the traditional role of libraries culminated in midnight performance…
Opportunities for open-ended learning
Known for its alternative learning programmes, this year Wysing Arts explored the term ‘polytechnic’ by re-visiting th…
Opening new doors
Andy Dawson explains how the RSC’s schools programme inspires children through Shakespeare while avoiding a ‘one size…
