Developing digital engagement
Verity Sanderson explains how a group of digital marketers are seeking to make changes to marketing strategies and initiatives in…
Posts
The right to make music
Carien Meijer describes some recent developments of technology and musical instruments for disabled musicians.
Engaging with the big society
What would happen if participation in the arts is extended to participation in its artistic decision-making, asks Leila Jancovich.
Who are the commissioners?
Linden Rowley explores who the commissioners of public services are, where to find them and how arts and cultural organisations ca…
The power of research
A researcher-in-residence scheme is proving that high-quality research skills can benefit the cultural and creative industries, sa…
What is your core purpose?
Are vision, mission and values at the heart of good cultural fundraising? Michelle Wright explains why arts organisations need to…
Art in new markets
Fred Weijgertse explores the global art market’s record year and points to the growth in exhibitions, galleries and collecto…
How is business sponsorship performing?
Colin Tweedy calls for business sponsorship of the arts to be nurtured again, particularly outside London where private, philanthr…
A story of survival
When Making Music learnt that it was no longer a National Portfolio Organisation, it was forced to rethink how it operated. Barbar…
Respect and reward
Community members and arts and heritage organisations can all benefit from volunteering if some basic principles are followed…
No clear and simple answers
Creating a network of ambassadors to promote culture and creativity in schools in the north east of England has been a bigger and…
What next for musical theatre?
Jodi Myers explores the complexities of musical theatre today and why it needs meaningful investment to give new work a greater ch…
Highly desirable or undesirable?
Dany Louise looks into the reasons why many cities welcome biennials of art events while others are less receptive.
The dark art of producing
Stage One’s training and support helped Tracey Childs become a theatre producer and is doing the same for apprentice produce…
A treasure trove of data
For the London International Festival of Theatre customer data is power. Libby Penn describes how taking control over ticketing an…
Learning from our uncertain world
Toby Lowe believes that discussions about the quality of work by artists in the participatory sector are useful for others who ope…
Out of obscurity
By bringing the findings of academic research into the wider cultural sector, CultureCase is providing the evidence that helps art…
A long, hard task
Steph Fuller argues that Creative People and Places projects will take time to take effect and therefore criticism of their impact…
Recognising our true value
Convinced that the current trend towards an instrumentalist approach to arts funding underestimates the true value of the arts to…
Return of the customer
An in-depth project examining Sadler’s Wells’ ‘customer journey’ has resulted in a much more relevant and…
Fringe requirements
Amy Golding and Kay Hepplewhite report on recent research to find out what a vibrant fringe theatre scene needs.
Much more than drama appreciation
Theatre in education has seen many changes since it was first conceived in Coventry fifty years ago. Justine Themen tracks its his…
Crowdfunding for the great and small
With little known about how small arts organisations can most effectively use crowdfunding, Oonagh Murphy decided to find out thro…
Birmingham’s babes
REP’s Children, a project offering free theatre tickets for babies and their families for ten years, was so successful first…
