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Sharing skills and resources is not just about altruism, it can unlock new sources of revenue for arts organisations. Benita Matofska shares five tips for getting started.
Wolverhampton’s Grand Theatre is a listed building but its front-of-house areas were in need of a facelift. Adrian Jackson explains how making the theatre more welcoming also made the bars more profitable.
Dynamic pricing is all the rage, but is just one tactic amongst many. David Reece explains how organisations can benefit by placing dynamic pricing in a wider context.
Inspired by theatres, Bristol’s museums and galleries decided to try out a ‘pay what you think’ model for exhibitions. Philip Walker tells the story.
Interest in a Swedish theatre’s subscription scheme was plummeting until it reworked it to reward frequent and early bookings. Jenny Bång outlines the changes it made.
Business support provides a lifeline that can help cultural organisations attract new partners, funders, lenders and investors. Sarah Thirtle previews a new programme designed to do just that.
Mandatory tax relief on business rates for registered charities will mitigate the impact of rate rises of up to 60%.
The amount generated through donations, sponsorship and membership by Arts Council England’s National Portfolio Organisations has doubled over the past seven years.
Many arts organisations are striving to diversify their fundraising income, but there are dangers in this approach, warns Michelle Wright.
Evidence around business support will contribute to a review of provision and a resource for creative and cultural organisations.
Income generating activities by ACNI’s core-funded organisations have failed to offset the loss of Government funding and artists’ costs have been slashed to balance budgets.
Outgoing Arts Council Chair Sir Peter Bazalgette is to conduct a review into how the creative industries can “underpin future prosperity”.
Future Arts Centre venues are more successful than the rest of the sector at attracting the audiences least likely to engage in the arts, research suggests.
50 arts organisations shared around 60% of the estimated £480m private investment in culture in 2014/15, with London-based organisations being the primary beneficiaries.
New figures reveal the volatile nature of arts income as National Portfolio Organisations become more reliant on private sources of revenue.
If arts organisations continue to decrease emissions at the current rate, they will be 46% lower in 2019/20 than in 2012/13, a report by Julie’s Bicycle has found.
Over half of Arts Council England’s NPOs are reaping rewards working internationally, but larger organisations and those based in London tend to benefit most financially.
As he prepares to step down, Sir Peter Bazalgette has said he’s pleased with NPOs’ progress but that board members need to get more directly involved with fundraising.
Recognition that increased spending in one location can lead to reduced spending somewhere nearby should be considered an essential part of an economic assessment, according to a DCMS report.
Research by Jerwood Charitable Foundation found only a quarter of people working in the arts entered the sector with a paid position.