Chapter 1: The Story So Far
This case study considers The Daily Life Project Tour One, the development of an East London grassroots network of organisations and individuals with understanding of and insight into mental distress. This network was seeded and nurtured through Daily Life Ltd’s 2014 tour of Mad Gyms and Kitchens and the Bobby Baker Diary Drawings exhibition to community, health, education and cultural spaces across three East London boroughs.
The Daily Life Project Tour One builds on the practices and learnings detailed in the first case study, which examines the development of the performance and national tour of Mad Gyms and Kitchens. In this, Mad Gyms and Kitchens is framed by contexts including: Bobby Baker’s performance practice since the 1970s; her commitment to recognising the expertise of those with lived experience of mental distress; and the development of Mad Gyms and Kitchens as part of the London 2012 Cultural Olympiad’s Unlimited festival of commissions by deaf and disabled artists.
The 2012 national tour of Mad Gyms and Kitchens was fuelled by Baker’s imperative to make ‘a small, exquisitely formed show that reached the parts that others don’t reach, in places where people actually meet’. This ambition was realized through:
- Thirty-two performances across England,
- 150 days of exhibition of the Dairy Drawings in cultural and health care contexts,
- Engagement with over 1,600 members of the public including NHS volunteers, nurses, service users, carers, psychologists, psychiatrists, occupational therapists, art therapists, GPs, NHS Health Commissioners and chaplains.
The development of the Mad Gyms and Kitchens tour wasn’t as simple as advertising a show to cultural venues across the country, seeing who was interested and calling upon a mailing list of existing audiences.
Rather, it was the careful curation of a series of relationships with cultural centres, health services and voluntary organisations working to support people with insight and understanding of mental ill health.
For Daily Life Ltd, the original development and tour of Mad Gyms and Kitchens in 2012 to venues across England revealed many things:
- That it is possible and necessary to create small-scale performances that attend to aesthetic and production values, in order to reach people in places where people meet as well as cultural venues.
- That is it possible and necessary to reach and engage a diverse range of audiences with different kinds of expertise in mental health - both personal lived experience and through professional practice.
- That engagement with such diverse and specific audiences depends both on the invitation made to audiences (how people are aware of something and feel compelled to go) and their encounter with the art event (the welcome, the performance, having daily life expertise recognised).
- Many of the audience members from the original tour were not traditional theatre going audiences. Their awareness of and willingness to engage with Mad Gyms and Kitchens was often the result of an audience development strategy that was labour-intensive.
- That commitment to making new audiences involved the development of networks of individuals and organisations engaged in arts and metal health, service users and service providers. Events such as the exhibition of the Dairy Drawings, talks and workshops were as important as opportune encounters, particularly conversations, in the development of relationships.
- The response to Mad Gyms and Kitchens was generative – audiences made connections with each other, to informal and formal networks – and the tour produced a collaborative momentum that had activist potential.
- For Daily Life Ltd, the tour of Mad Gyms and Kitchens offered a challenge and provocation: how does a small organisation maintain relationships and networks at a geographical and temporal distance from such a successful programme of shows, talks and workshops?
- Ultimately, the tour of Mad Gyms and Kitchens was a catalyst for Daily Life Ltd to consider the relationship between the political imperative of its work and the most effective strategies to realise this.
The first case study about the National tour of Mad Gyms and Kitchens in 2010 details the experience of this tour and the new understandings developed through it about the labour and expertise required to develop rich relationships and networks. Mad Gyms and Kitchens offered an exceptional opportunity for people to engage with each other, to discuss and share their experiences and strategies for wellbeing. However, the peripatetic nature of touring meant that Baker and the Daily Life Ltd team were always on the move, aware of conversations they wanted to continue, and collaborations they wanted to foster as part of their commitment to develop public creative spaces for people to think about mental health.
After the national tour, Daily Life Ltd moved its organisational base to Stratford in the Borough of Newham, East London. This was a declaration of the organisational commitment to locate itself and attend to a particular context – to grow roots and develop sustainable local networks.
This case study focuses on how Daily Life Ltd achieved this through innovative audience development strategies tested during the 2014 tour of Mad Gyms and Kitchens in three boroughs across East London (Hackney, Tower Hamlets and Newham).
It reveals the organisational labour required to forge new collaborations that reach across arts and culture to health and social care in a time of austerity; when public health, education and social services are under threat and when the public is questioning the ‘expertise’ of politicians in making decisions that are, supposedly, in their best interests.
In this case study we detail the framing narrative of the project. We illustrate this with examples drawn from materials generated in developing the tour such as Art Council England funding applications, marketing materials and reflections on practice with project partners and Daily Life Ltd.
Chapter 2: Next steps... The Epic Local
This chapter is about how an audience was developed for The Daily Life Project Tour One. This tour covered three boroughs of East London; Tower Hamlets, Hackney and Newham. Daily Life Ltd trialled many methods to engage new audiences. Part of this involved the creation of an Audience Development Plan (ADP), a comprehensive document of our ambitions of the amount and type of people we will engage with and how we will achieve this. This can be access via the bibliography of this case study.
A main part of our digital strategy to connect with audiences was creating a series of animated cartoons featuring the Daily Life Ltd team.
The period immediately after the 2012 Mad Gyms and Kitchens tour was a period of reflection and galvanised action for Daily Life Ltd. Daily Life Ltd had been an Arts Council funded organisation since 1995 in order to support Bobby Baker's artwork. In 2012 Daily Life Ltd successfully applied to become part of the Arts Council England’s National Portfolio - refining and declaring its new mission statement:
"Daily Life Ltd aims to investigate and celebrate daily life and its limitations, promoting the abilities of people with lived experience of mental distress through the arts, collaborative research and diverse participation. Creative excellence not art-as-therapy is our driver."
Central to this was a commitment to building relationships with individuals and organisations across arts, health, education and social care through long-term engagement. Whilst the work of Bobby Baker and Daily Life Ltd is recognised nationally and internationally, the company pledged to predominantly work locally. Part of the rationale for Daily Life Ltd deciding to root itself in Stratford, was because of the rich landscape of arts, activist and voluntary organisations already established there.
Baker’s Fellowship in the School of English and Drama at Queen Mary University of London in Mile End 2005-2008 framed some of her on-going engagements in and with East London. During this fellowship, Baker began to imagine robust flexible structures that would support a programme of artwork in East London, online and on the ground. This came to be The Daily Life Project.
In 2014 Daily Life Ltd successfully applied to Arts Council England’s Strategic Touring Fund to develop and test a range of innovative audience development strategies to grow relationships and reach and foster new audiences.
The ambition of The Daily Life Project One was bold in both political imperative and artistic vision. It was realised through the development of an East London grassroots network of individuals with understanding of mental distress and organisations they run or that support them. This network grew through extensive relationship building via the touring of Mad Gyms & Kitchens and Bobby Baker’s Diary Drawings exhibition.
Moving home, meeting the neighbours and building your community
The first phase of The Daily Life Project One was an opportunity for the Daily Life Team to meet individuals and organisations that contribute to this ecology, to share practice and to find mutual interests. The idea was to see if the creation of opportunities and art that changes that way people think about mental health could be developed together, through collaboration. The 2014 tour of Mad Gyms and Kitchens to community, education, health and cultural venues in this locality reveals something of the diversity of organisations within it and how Daily Life Ltd began to make the idea of a network visible.
Core Arts is a leading innovator in mental health creativity, cultural diversity and social enterprise. The organisation’s activities are accessed through individual’s personalized care packages linked to severe and enduring mental health diagnosis. Improvements in people’s mental health remove this particular access and Core Arts are actively seeking pathways and arts organisations for their former clients locally. Through this collaboration Daily Life Ltd engaged directly with audiences including Core Arts clients; friends and family; local arts audiences; hospital staff and patients who access Core Arts.
Chats Palace offers insight into the changing demographic of Homerton, where gentrification runs alongside poverty. Chats Palace staff negotiate the spectrum of cultural confidence and seeks to strengthen and support links with harder to reach historic local audiences. This includes a local mental health group from the wards at Homerton Hospital. In addition to the Roxy and Rudi Roadshow and Mad Gyms and Kitchens, Chats Palace hosted the Diary Drawings exhibition with a Private View which extended Daily Life Ltd’s engagement with audiences from Homerton Hospital mental health group, NHS staff from across East London NHS Trust, local residents and regular Chats Palace audiences including a local Afro-Caribbean church, a youth theatre group, a karate group and a general arts audience.
The Pinter Studio, Queen Mary University of London
Daily Life Ltd has a long-established relationship with QMUL and its Drama department. Bobby Baker was an AHRC Creative Fellow (2005-2011) and, in 2011, was awarded an honorary doctorate. Bringing Mad Gyms and Kitchens to QMUL’s Pinter Studio was an opportunity to engage with students from across faculties and the general public.
Bromley by Bow Centre
The Bromley by Bow Centre works with over 2,000 people each month, providing an integrated range of health, training and social services for locals. The centre is a haven within a densely populated urban landscape, with bright, spacious public spaces including a café and a community garden. Lucy Wells, Inclusive Arts Manager at Bromley by Bow, was fundamental in articulating the benefits of the collaboration between the centre and Daily Life Ltd, on the cultural practices of the organization as well as the lives of the people who engage with the centre. After the first performance of Mad Gyms and Kitchens she suggested that they collaborate on another, particularly to support access for people for whom English is not their first language.
Old Town Hall, Stratford
This Grade II listed building in the heart of Stratford is owned and run by Newham council who hire out the many and various spaces within it. The collaboration with Newham Council including the use of the Old Town Hall, for both the staging of Mad Gyms and Kitchens and the exhibition of Bobby Baker’s Diary Drawings, was an important opportunity – bringing together a range of audiences from council, local arts and mental health organisations as well as the general public. The collaboration and events have been important for both partners in helping them think about the possibilities of the arts to create public spaces with people who share commitment to the development of community in Stratford, linking arts, local authority, health and activism.
Rose Lipman Building
Rose Lipman Building is a community hall and former library that has been brought back into public use for local arts and participatory activities. It is part of the Mill Co. Project. Touring Mad Gyms and Kitchens to the Rose Lipman Building was part of a shared endeavour for Daily Life Ltd and Mill Co. to promote this space as a community venue for diverse audiences locally, in particular local mental health groups such as Studio Upstairs. It also connected Daily Life Ltd with audience groups, artists and organisations already using the space including artists and curators involved in Open School East, who use the building as a base for their arts education and participation research and practice.
Rich Mix is an independent arts venue based in East London. Their aim is to be a place where communities of the world, who are the citizens of East London and beyond, can come together to experience and make world-class art, and feel that it is a place where they belong. This was the only traditional art venue that Mad Gyms & Kitchens toured to with an ambition to reach a more 'mainstream' arts audience.
Discover is the UK’s first story centre for children aged 0-11 and their families. Their aim is to create a love of language, literature and stories.
Daily Life Ltd and Discover are neighbours in Stratford. This was the first time Daily Life Ltd collaborated with an organisation dedicated to young people. Discover were interested in the way this partnership could create an offer for the adults that visit the centre with their children. This partnership was extremely successful with a sold out performance and keen enthusiasm from both partners and children.
The collaborations with each of these partners, built over time through many conversations, were the first steps in Daily Life Ltd creating lines of connection across East London. Each partner organisation had a long established reputation, and a core audience that it appealed to. They also had expertise of working with groups and organisations that may be interested in not only attending the performance of Mad Gyms and Kitchens, but in being part of a wider conversation about arts, mental health and expertise in daily life.
Chapter 3: Strategies for Developing New Audiences
In this chapter we identify and reflect on some of the audience development strategies that Daily Life Ltd employed during The Daily Life Project Tour One: the Roxy and Rudi Roadshow; the Experts By Experience Advisory Panel; Ticketing; and Accessibility.
Defined Roles and Elastic Practices
The experience of the national tour of Mad Gyms and Kitchens (2012) convinced Daily Life Ltd of the imperative and possibility of reaching and engaging diverse audiences with a range of experiences and expertise in mental health. Key to this was recognising that it is people who build partnerships and networks, and that it takes opportunities and time for these relationships to flourish: time to have un-anticipated conversations in corridors as well as meetings in offices; time to observe audiences as they consider and share their Top Tips for wellbeing whilst having tea and biscuits at the end of the show; time to talk with audiences, to hear what they are saying rather than clear away the set and move on-to the next thing. With this in mind, when applying to the Arts Council England for funding for The Daily Life Project Tour One, Daily Life Ltd’s Audience Development Plan clearly identified the need for two roles, accommodating the full range of practices needed to realise the ambition of the project – from on-the-ground networking and data-gathering through to strategic development.
Emma Cahill, Administrator
During the first phase of The Daily Life Project Tour One, Emma Cahill had the official role of Administrator. However, if you were to write a retrospective job description of what her work involved, it would spill over any neatly parameterised role to detail a range of responsibilities and skills:
‘I was involved in all elements of that tour - Audience Development, Stage Management, Evaluation. I saw the whole picture: contacting venues; setting up stalls in non-traditional arts venues without marketing structures trying to get local audiences to come; being the person who turned up early with the van. I was the continuous point of contact for the whole thing.’
Baker reiterated Cahill’s elastic role when she said:
‘She was the one who held and continues to hold the relationships, the knowledge – she is the interplay. What was really exciting was, that for the first time ever, it was us rather than me.’ (13 April 2016).
Miriam Hodson, Community Mental Health Access and Liaison
Miriam Hodson’s role covered community mental health access and liaison and expert by experience. During the tour of Mad Gyms and Kitchens, Miriam engaged in conversations with the audiences, understanding more about their experience of the show and the issues it addressed. She was responsible for data collection – who the audience was, how they found out about the show, potential networks to connect to - and sharing this with the team.
Within the range of audience development strategies employed, we reflect on four particularly distinctive ones that evolved during The Daily Life Project Tour One.
The Roxy and Rudi Roadshow
Roxy and Rudi are an animated cat and dog ‘Research Team'. They feature in a series of animations that playfully map the journey of the character of Dr Bobby as she pioneers new ground in her explorations of people and places in East London.
The Roxy and Rudi Roadshow reflects a sense of playful encounter, creating an informal but structured public moment when Baker and the Daily Life Ltd team talk about their work with a group of people who share an interest in arts and mental health or who may be potential audiences for the company’s work. It is an invitation and opportunity to engage with each other’s work without making any commitment beyond it. The tone is one of dialogue in response to Daily Life Ltd works rather than a presentation of it. It is, as Cahill reflects, ‘about introducing ourselves to people and to spaces that aren’t familiar with us’.
For Baker, the playfulness of the title and format allowed people to engage the ideas with an openness, ‘If you said, we want to come and pitch our idea, people would be in one state of mind whereas when we arrive, in our eccentric way with dogs and cats, it breaks the ice’ (16 April 2016). During the first stage of The Daily Life Project, The Roxy and Rudi Roadshow went on tour to a number of venues including Core Arts, Chats Palace and the Old Town Hall. The format is flexible, intimate, and fuelled by serious fun and enquiry. Often Daily Life Ltd will bring food, including a Rudi lemon drizzle cake and a Roxy carrot cake!
They host a space of collaborative encounters, which is reciprocated and shared with others. The Daily Life Ltd team have commented on the number of relationships and collaborations that have grown directly from these events as well as a wider awareness of the work of Daily Life Ltd.
Experts By Experience Advisory Panel
The imperative for the development of the Experts by Experience (EBE) Advisory Panel reflects the wider mission statement of Daily Life Ltd to ‘promote the talents and insight of artists, performers, writers and musicians with personal experience of mental health issues’. The panel is a fluid body of people, who have a wide range of professional experience in the arts including:
For Baker, ‘It’s about not wanting to reiterate the story that it’s just one person who has survived, one person who is the exception, because I knew there were these great people out there who were artists and we also very much went for activists. During the first panel we had eighteen people. We paid people to come – it was a declaration of intent to value people’s time and expertise. Initially we thought we wanted to ask people about our work but what it also turned into was a peer support group. Everyone shared what they were doing. The momentum and network that grew from this – particularly on social media – was extraordinary.’
Daily Life Ltd are committed to hosting a one day-long EBE Advisory Panel annually that addresses themes that are of particular interest to the group, such as, in 2016, contracts and agreements. What has become apparent is that the very existence, invitation and structure of the EBE Advisory Panel allows people to share experience and expertise in a way that is generous, robust and of value to an extensive network of practitioners. Daily Life Ltd currently leads the sector in facilitation of the articulation and dissemination of this community of knowledge.
The aim of The Daily Life Project Tour One was to engage with as diverse and wide-ranging an audience as possible. Within this larger project, Mad Gyms and Kitchens toured to community, education and health contexts as well as places more readily recognised as being cultural venues. The pricing of tickets varied throughout the tour depending on the venue and the potential audiences for it. For Daily Life Ltd, it was imperative that tickets were not free as experience from the first tour taught the organisation that if you had free tickets it wouldn’t incentivise people to come. They discussed ticket prices with staff at each venue to see what was reasonable.
At Bromley by Bow Centre, a place that at that time didn't regularly host performances or have a strong audience base to draw from, tickets were £5 and £2 concessions. The ticket price, combined with a very hands-on approach to marketing the show through an on-site stall manned by staff from both Bromley by Bow Centre and Daily Life Ltd, were enormously successful in creating an audience for the show.
However, at Rich Mix and QMUL – two established cultural venues – ticket sales were disappointing. For Cahill the reasons were clear, for part of the tour Daily Life Ltd were having to develop a responsive, precisely-targeted marketing strategy to bring audiences into non-traditional venues. However, there was an assumption that in more established venues, ones with a marketing department or direct access to audience, that more traditional way of marketing this touring show would work. But it didn’t. Earned income through ticket sales was a fraction of what was anticipated.
For Baker, the question of access is clear, ‘How do we help people come to our work?’ (16 April 2016). One of the most explicit examples of this was the staging of an additional performance of Mad Gyms and Kitchens for audiences for whom English was not their first language at the Bromley by Bow Centre. Emma Cahill describes the collaboration with Lucy Wells, the Inclusive Arts Manager, to realise this:
‘We worked with Lucy to identify a group, who all happened to be women, who all spoke different languages, about how we would interpret the show to allow people to access it. We printed off images from the show and had a session before the performance itself where we went through the show, section by section. It wasn’t translating word for word. Bobby’s performance is so physical and the demonstrations so clear that they just needed a couple of lines to explain the set up’ (16 April 2016).
During the show, the ‘interpreters’ were seated with others they shared a language with. At various points throughout the performance Bobby would pause and directly address the audience, inviting them to ask for clarification if they needed it. There was a great sense of direct contact between Bobby and the audience, with recognition of the audience as being part of the performance. The audience’s understanding of and engagement with the material was what part of the playful contract of the event. Baker reflects, ‘my memory is that not that many people came but that the show itself was intensely wonderful, because of the preparation of the women. They engaged very, very carefully’ (16 April 2016).
Chapter 4: Looking Back, Thinking Ahead
In this final chapter, we reflect on what has been learnt about the cultural politics of Daily Life Ltd’s work – its commitment to work locally, to imagine and test audience development strategies to create new audiences, to facilitate networks and sites for sharing expertise through The Daily Life Project Tour One.
Collaborating with partners who work with people who have understanding, knowledge and insight into mental distress:
By programming in partnership with organisations that support people with lived experience of mental distress, Daily Life Ltd integrated their work into existing provision and extended opportunities for both.
The opportunities of working in partnership with organisations with a network of relationships has some limitations – you have to work with their terms of engagement and that may, potentially, impact the reach of the work. For example, the work at Core Arts could only be advertised within the Core Arts network rather than publicly so audiences could only be drawn from a limited group of people. Emma Cahill reflects on this,
Different partnerships offer different kinds of benefits for both parties:
‘It was definitely a different experience working with Core Arts than it was with other organisations. Core Arts is established and it’s almost a different relationship because you’re not going in and introducing something new, you’re going in and reinforcing something they already do. I think it definitely established the fact that both organisations – Core Arts and Daily Life Ltd – are wanting to do the same things and it definitely strengthened that partnership between the two of us.’ (Emma Cahill, 6th May 2014)
Developing audiences and reconsidering what successful audience figures are:
Many of the venues in East London that Daily Life Ltd toured Mad Gyms and Kitchens to, were small scale and with limited audience capacity. The audiences were made through continual invitation and collaboration with partner organisations rather than being drawn from an existing and known audience base. Some of the audiences were from networks of organisations supporting people with experience of mental distress. This combination of factors meant that projected audience figures were always a declaration of optimism – of hope for what could be possible if circumstances allowed rather than any sure-footed assertion of what would in all likelihood happen. Emma Cahill highlights one particular case:
This combination of the nature of the venue (often non-arts and sometime not open to the general public), alongside the vulnerable nature of some of the individuals and groups who were invited to the show also meant that project audience figures were optimistic. However, what should also be recognised is that, given the context, any audience member is a significant achievement. The terms of success and failure in the context of the tour of Mad Gyms and Kitchens does not follow traditional arts marketing rules.
A theatre company or a venue will have a database of audience members who have been to see its shows – or shows that may be considered to be in some way similar. Daily Life Ltd is building an audience network from scratch through relations with people who have relationships with individuals and groups of people who avail of specific services. That is a particular kind of legwork, or because of the necessity of not just listening but earwork, and it takes an extraordinary amount of labour to recruit a relatively small number of people.
It was hoped that the performances at QMUL and the Old Town Hall would attract significant numbers of students, staff or a general public audience. Numbers for those performances were much lower than hoped, for various reasons however, as Emma Cahill reflects, this allowed for other opportunities:
‘We actually had a couple of great people that came to QMUL. We met one artist who is training to be an art teacher for Emergence Plus, which is a mental health organisation. She’s an incredible visual artist and we hope to partner with her so that’s one absolutely brilliant thing. In the evening show we met a writer who engages with MIND so we’ll definitely try and work with her too. So although it was a small audience, there were two brilliant connections. I wouldn’t have known so much about either if there was a larger audience or if I didn’t have the time to talk with them and have quite rich conversations with them. So it’s a double-edged sword really.
For our first show in Newham, we invited lots of different arts organisations and mental health groups - MIND, Time to Change, Newham Arts, Stratford Rising, Stratford Circus, Bow Arts, Rosetta Art Centre. But then the tube strike happened so it wasn’t a great audience, about twenty people, but those people that made it were very invested and interested.’ (Emma Cahill, 6th May 2014)
Whilst smaller than anticipated audience numbers can be disappointing they also offer opportunities: time to talk with individuals, to make connections, to extend networks. These are the gifts of smaller audiences.
"The level of enthusiasm generated by this small audience led to the Newham Council staff at Old Town Hall inviting us to stage an extra show later on, allowing us time to spread the word about our work. This second show attracted capacity crowds from an extraordinary range of backgrounds and settings. That wouldn't have happened without the first show creating a 'buzz' and us having more time. It was the best fun ever, that extra show" (Bobby Baker 2016)
Building networks through invitation and conversation:
‘In Chats Palace we drew on contacts from the Roxy and Rudi Roadshow we did in February and advertised Mad Gyms and Kitchens to those audiences. But a lot of the audience came through word of mouth especially after the private view of the Diary Drawings Exhibition, a lot of people came back to see the performance. Miriam was working on developing the relationship with MIND in Hackney, so they came as well. So flyering, going to visit places, talking to people and seeing if they’re interested and then getting information from them about who they’d advise us to contact and then sending out more e-flyers. These were written in Bobby’s voice so it’s not just a bland flyer that you get in your email; it’s something that’s quite personal and very engaging. It definitely gives you a sense of the work that you’re about to see.’
‘National organisations such as MIND are quite big and are difficult to penetrate but now there is a sense that we have relationships with the people that work there, that use their services, and we are much freer in our ability to ring up and invite them to something or ask advice or partner with them. There’s so much to be said for going in somewhere and just explaining what you’re doing. There’s a place called Pritchard’s Row in Tower Hamlets that’s a small day centre and we spoke to the guy that runs it and he came down to the private view and now we can talk with him, he knows what we do.’ (Emma Cahill, 6th May 2014).
Throughout The Daily Life Project One, relationships and partnerships were developed through conversations and invitation rather than presentation of information: dialogue allowed spaces for points of connection to be developed rather than assumed.
In its commitment to create and engage diverse audiences, many of whom may have had little or no previous experience of theatre, The Daily Life Project Tour One had to operate beyond traditional marketing strategies. Daily Life Ltd had to develop its own way to do its own very particular thing. The challenges and opportunities of this are both demanding and invigorating...
Emma Cahill: We are working in an environment that assumes maximum audience capacity is success and if you haven’t got it, that’s failure. However, in the context of The Daily Life Project, we are working on a different premise. The amount of work that it takes for us to get one person in the door to see something is huge. If we can get five people who have very limited experience of theatre to turn up, that’s a success.
Bobby Baker: It took us a long time to have the confidence to say that. Now, interestingly, the Arts Council has invested a lot of money in the Audience Agency and everyone has to subscribe to it. They have come up with a segmentation system of audiences that is very top down but it is all geared to what they know they know. We are being increasingly vociferous that there are different audiences and different ways of doing things.
References and Resources
Bibliography and References
Baker, Bobby. Interview with the author, Daily Life Ltd offices, London, 13 April 2016.
Bromley by Bow Centre, www.bbbc.org.uk (Accessed 10 June 2016).
Cahill, Emma. Interview with the author, Queen Mary University of London, 6 May 2014.
Cahill, Emma. Interview with the author, Daily Life Ltd offices, 16 April 2016.
Chat’s Palace, www.chatspalace.co.uk (Accessed 10 June 2016).
Core Arts, www.corearts.co.uk (Accessed 10 June 2016).
Daily Life Ltd, The Daily Life Project One (TDLP) Audience Development Plan, 22 Jan 2014. Daily Life Ltd, London.
Kumari, Shamilla & Cahill, Emma. Interview with the author, Newham Council Old Town Hall, London, 30 July 2014.
Rose Lipman Building, www.themillcoproject.co.uk/spaces/the-rose-lipman-building (Accessed 10 June 2016).
Queen Mary University of London. Research Culture, Available at: www.sed.qmul.ac.uk/drama/research/culture/index.html (Accessed 10 June 2016).
Rich Mix. www.richmix.org.uk (Accessed 10 June 2016).
Wells, Lucy & Cahill, Emma. Interview with the author, Bromley by Bow Centre, London 30 July 2014.