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The Art Fund’s crowdfunding platform has given artists the chance to realise their dreams, but to make it happen requires hard work and commitment from everyone involved, says Rachel Mapplebeck.
The Arts Impact Fund offers loans based on artistic as well as social impacts. Seva Phillips explains the aims and benefits of its pilot investment scheme.
Red Ladder’s #GisATenner campaign appealed to the company’s Twitter followers to donate as little as £10 to help save the company following funding cuts. Chris Lloyd reveals what happened next.
Dance is perfectly suited to being toured internationally, says Anthony Missen. He explains how exporting has allowed Company Chameleon to grow and flourish.
An international collaboration is helping young people with disabilities in the Ukraine get involved in the performing arts and bringing communities together, writes Sylvia Harrison.
Access and prejudice still need to be fought, but the British Paraorchestra has talent and fearlessness on its side, says Charles Hazlewood.
At Sussex Recovery College, arts-based courses are boosting students’ creativity and self-esteem. Kate Davey reports on this promising new model.
Future arts leaders will need to be skilled in the world of business, argues Helena Gaunt. She describes an incubator scheme championing creative entrepreneurship.
The Oxford Cultural Leaders programme is helping to create adaptive, entrepreneurial leaders. Lucy Shaw explains how it came about.
To nurture and retain new artistic talent, you need affordable studio space. Audrey Carlin explains how Wasps is helping Scotland to strengthen its cultural scene.
Cardiff’s first international festival celebrated what Wales is most famous for – the human voice. Graeme Farrow reflects on the launch of the biennial cultural event.
How can you make your box office a more powerful contributor to the success of your organisation and the happiness of your customers? Dana Astmann and Brooke Gallagher offer three suggestions.
Meet your customers’ expectations of mobile responsiveness and you will be rewarded with loyalty. David Wright profiles two arts organisations that are getting it right.
Online and mobile ticketing is the new normal. But the frustrations of ticket buyers – and box office staff – must be taken seriously if it is to be done well, says Ben Curthoys.
Giving its ticketing agents a direct link to its box office system is allowing the Royal Court Theatre to reach a wider audience, Libby Penn explains.
Major audience development initiatives may be inspiring, but most arts organisations can learn more from what the smaller players are doing. Sara Lock shares a few examples.
Home Live Art’s interactive literary salon event sold out quickly, but when she met the audience Mimi Banks was surprised. She reflects on the difficulties of marketing interactive live art.
Sheffield Theatres was part of a regional consortium of box offices until it decided its audience development activities would benefit from going it alone. Libby Penn describes the painless uncoupling.
Tired of seeing British East Asian actors being given underwritten, stereotyped roles, Kumiko Mendl decided to do something about it.
Last year Youth Music more than doubled its fundraising income, exceeding its already ambitious target. Emma Holenstein reveals how they did it.