What exactly do we mean by creativity, and how will the UK measure up when the world education league tables start assessing it in 2021? Bill Lucas examines the evidence.
Artists from across Europe describe what it’s like to work in their country of origin – from the almost desperate situation for some freelance artists in Spain to the generous support on offer in Arctic Norway.
What would the ideal fundraising strategy look like? Michelle Wright discusses the key elements - from inspiring donors with creative content, to keeping tactics simple.
Approaches to assessing cultural value are stuck in a financially reductionist ‘value = money’ orbit. We should be examining people’s experiences of culture, and the meaning that comes from those experiences, says Julian Meyrick.
There has been a dramatic expansion in the number of organisations supporting arts activities by and for older people in the UK - but more still is needed, says David Cutler.
The arts have helped scientists gain a better understanding of how it actually feels like to live with dementia. Julian West shares his experience of a research project based on ‘co-creativity’.
As local authority cuts continue to squeeze culture and heritage budgets, libraries offer a way for councils to preserve access to the arts, says Gerald Vernon-Jackson.
The arts are important because they matter to us, and any attempts to further justify them lead to an impoverished and less human life, says Carter Gillies.
The success of Hull City of Culture shows what can be achieved in the arts when we come together to achieve a common goal. Positivity is key to making change happen, says Phil Batty.
It can be brutal to have your work rejected. Tom Harvey has devised a ‘Humane Commissioning Manifesto’ to fight back against insensitive and damaging practices.
Has Arts Council England got cultural democracy wrong? Steven Hadley and Eleonora Belfiore argue for a more thorough questioning of existing hierarchies.
Clinical psychologist Katherine Taylor explains how Greater Manchester is putting the arts at the heart of its mental health strategy, inspired by Finland’s positive experiences.
Arts organisations are under growing pressure to demonstrate social impact. Emma Taylor-Collins explains how they can gain robust, high quality evidence to measure their success.
Ovalhouse’s FiRST BiTES programme ensures that it takes the risks necessary for creating diverse and experimental theatre, explains Owen Calvert-Lyons.
How can an arts organisation be sure it is working with schools that represent the community? Lucie Fitton and Ashleigh Hibbins suggest combining arts, population and schools data.
Effectively monetising creative work ensures that artists can continue to do what they love. Ros Gilman offers advice on pricing, marketing and legal issues.
