Stradling, H. and Gieve, M (2019) Collaborating for change: What works well and how might Creative People and Places and National Portfolio Organisations best collaborate to engage new audiences and communicate? London: Tavistock Institute of Human Relations. This report examines Creative People and Places and National Portfolio Organisations programmes, seeks for interaction between them. It aims to understand and display successful collaborations between them.

Kids in Museums is an independent charity dedicated to making museums open and welcoming to all families. They are keen on encouraging museums and galleries to organise activities specifically focus on children’s experiences during museum visits.

Jackson, A. (2015) New Audience Development Tool Kit. Bath: Annabel Jackson Associates. This toolkit was commissioned by the Cleveland Foundation in the United States and the Paul Hamlyn Foundation in the UK. It aims to help arts organisations to reach younger and more diverse audiences.

Audience Agency (2018) Museums Audience Report. London: Arts Council England. This report is based on a sample of 39,318 visitors from 105 varied museums – those managed by local authorities, independent trusts, universities and national museums – collected via Audience Finder in the 2017-18 benchmark year.

Nesta (2015) Digital Culture 2015 Survey. London: Nesta. This report is the result of a digital culture survey of 984 organisations, in 2013-2014.

Council of Europe/ERICarts (eds.) Compendium of Cultural Policies and Trends in Europe, Edited. 16th edition. Amsterdam: CCPT. Participation statistics from the Compendium web-portal, which displays continuously updated information and provides a monitoring system of national cultural policies and related development.

Da Milano, C., et al (2017) How to place audiences at the centre of cultural organisations: Guide Part I, a practical guide for cultural operators. Brussels: European Commission. This guide investigates how organisations shift towards ‘audience centricity’. It does not intend to define ‘good’ Audience Development, but considers how to find an appropriate balance between audience and artistic objectives means.

Audience Agency (2017) Creating and effective audience development plan. London: Audience Agency. An introductory guide to Audience Development planning by the Audience Agency.

Urban Paradoxes (2018) Re-imagining Europe: Towards a sustainable audience development. Brussels: European Commission. This report looks at organisations aiming to deepen and diversify their audiences. Those involved adopt radical approaches to audience development and aim to turn ‘audiences’ into ‘engaged citizens’, ‘active participants,’ and thus into ‘change-makers’.