Get inspired and re-invigorate your thinking with the recordings from the Inspire Stage
Subtitles and transcriptions will be available soon.
We Shall Not Be Removed – why good access is good for everyone
Jo Verrent, Unlimited and Becky Morris Knight, Drake Music
2020 has been the year that social justice movements gained new momentum. While COVID-19 disproportionately affected people with disabilities, lockdown made many non disabled people aware of barriers that others face daily — and that they had a hand in creating. So what can be learned from our new angle on the world?
Hear from two people who have driven the #WeShallNotBeRemoved campaign forward this year.
Explore how the language we use can affect who engages with our organisations; how the stories we tell can leave some people out altogether; and how we can change the narrative, no matter what our job is.
Dancing at Distance — a reopening story
Jane Macpherson and Ankur Bahl from Sadler’s Wells
Ankur Bahl and Jane Macpherson from Sadler’s Wells share the process behind and initial outcomes of Dancing At Distance, an organisation-wide strategy to prioritise and plan activities for lockdown.
- ramping up multiple strands of activity for Sadler’s Wells’ Digital Stage
- navigating their first paid content trial: Dancing at Dusk
- re-opening Sadler’s Wells Theatre with their first socially distanced performances
They also discuss what worked and what didn’t go so well, and how they might develop both offerings and organisational ways of working in future to continue to serve global audiences within the parameters of mission, brand, funding commitments and revenue objectives.
Leading through change
Amanda Huxtable, Eclipse Theatre / Cath Hume, AMA / James MacKenzie Blackman, Eden Court Highlands / Sarah Ogle, Liverpool Everyman & Playhouse Theatre / Tim Wood, Consultant & AMA chair
In this panel session hear from people who know first-hand what it means to lead a team, a project or an organisation through a period of intense change. They talk about the capabilities and qualities they drew on; what it really meant to influence and get others on board, and what the pitfalls and unexpected benefits have been.
Cardboard and Creativity — How a little theatre grew a large lockdown following
Sophie Waddy, Little Angel Theatre
Within 5 days of theatres closing, Little Angel had launched their first piece of digital content. They went on to produce 11 online puppetry shows; 72 video stories and 110 craft tutorials, all designed to support families who were home schooling. Their work gained coverage across the world and hundreds of children were inspired to create theatre at home.
12,000 subscribers, 70 countries and over half a million views later, this session explains how they mobilised quickly with a small staff team; how to create engaging, accessible content for families; and where they plan to take their new, online audience next.
After the Formalities
Anthony Anaxagorou, Poet
To kick off day two of the Arts Marketing Festival, we heard some thoughts and readings from poet Anthony Anaxagorou.
The session is named after his second collection — After the Formalities — which was published with Penned in the Margins and is a Poetry Book Society recommendation that was shortlisted for the 2019 T.S Eliot Prize. It was also a Telegraph and Guardian poetry book of the year.
From Colston to Beacon — delivering change in the midst of a pandemic
Andy Boreham and Sarah Roberston, from The Beacon
Covid-19 created a situation like none of us had ever experienced, and whilst Bristol Music Trust were in the midst of responding to the pandemic and its impact on their artistic and educational programmes, as well the c.£50m capital redevelopment programme, the Black Lives Matter protests led to a renewed focus on the Trust’s plans to announce a new name for Colston Hall. In the wake of slave-trader Edward Colston’s statue being pulled down, the renaming of the Hall became the focus for renewed widespread debate, and the Marketing team had to respond quickly to events as they unfolded, adapting plans that had been made over the past two years in order to successfully announce the new name Bristol Beacon on 23 September.
Sarah Robertson and Andy Boreham talked through their experience of handling their organisation’s communications during a high profile renaming and rebranding, under the scrutiny and pressures of the last 6 months.
Welcome Back — two journeys to reopening
Bonnie Turnbull, HOME and Florence Symington, Eureka National Children’s Museum
Hear from two very different organisations about their journey to reopening to their audiences, including the successes and failures that each organisation experienced.
HOME, the multi-arts centre in Manchester and Eureka! The National Children’s Museum, each put their audiences at the centre of the planning process; a process that took in audience research, a comms strategy, multi-channel campaigns, and a rethinking of the physical space and ticketing.
#SelfIsolationCreation — turning a crisis into community creativity
Tessa Gillett, Trinity Laban Conservatoire of Music and Dance
Tessa Gillett, Head of Marketing and Communications at Trinity Laban Conservatoire of Music and Dance, talks about her team’s recent #SelfIsolationCreation campaign as an example of how a crisis can become a spark for creative working.
A nimble response to lockdown, the digital initiative showcased the talent and adaptability of Trinity Laban’s community from their homes around the world. Learn how a user-led community-building campaign allowed Trinity Laban’s innovative and collaborative spirit to thrive during a period of uncertainty, and increased reach and engagement in the digital sphere.
And with thanks for the support of our sponsors: