What happens when creative minds from different sectors and disciplines come together to imagine and design bold, large-scale events to reach millions of people worldwide? Martin Green reveals what’s in store for 2022.
Our sector is supported by trustees and directors who, through their passion and skills, have stepped up to support organisations when the need has been greatest. But, as Jonathan Mayes argues, our boards could do better.
While the appointment of Nadine Dorries to lead DCMS has been greeted with widespread dismay by the cultural sector, Robert Hewison reflects on a deeper malaise at the heart of Government.
While audiences are most comfortable returning to outdoor events, organising a festival that can flex around ever-changing restrictions is still no mean feat. Penny Mills and Jonathan Goodacre have been looking at what’s working.
What does it mean to be Black in the arts industry today? Marking the one-year anniversary of the death of George Floyd, Gabrielle Brooks shares why she founded BlackStage UK.
Despite all the difficulties of the past year, Jake Bartle and Emily Coleman are confident that this year’s festival will be a celebration of artistic achievement and are welcoming visitors with open arms.
With the creativity of communities finally becoming a policy priority, arts organisations could be handing more control over to their communities. Adam Pushkin explains why – and how – that could work.
A substantial new income stream for the arts sector can go hand in hand with significant savings to the health budget, says Tim Joss. But first we need to move beyond some widespread assumptions that are holding back progress.
Community arts organisations are at the heart of the response to the Covid-19 crisis, but their spaces are threatened by arguments that focus on the economic value of the arts. It’s time we started measuring social value, says Zain Dada.
As ArtsProfessional unveils the explosive findings from its recent Freedom of Expression survey, Liz Hill examines the soul of a sector that believes it is owed artistic freedom but doesn’t tolerate freedom of speech within its own ranks.
Anthony Sargent says we need to identify what we've learned from Covid, then build on those foundations rather than reassemble broken pieces of the past.
Creating and sharing new knowledge - through teaching, learning, impact and public engagement - lies at the heart of relationships between universities and cultural organisations, Professor Katy Shaw and Claire Malcolm write.
Universities often lack the resources for large scale art programmes, yet the University of Kent has launched an ambitious creative season. David Sefton explores the relationship between academic institutions and the arts.
The arts have a huge role to play in health and wellbeing. Jane Rich shares how creative practitioners can support mental health without being mental health professionals themselves.
Over the past year, Amanda Parker has been privy to several board-level conflicts that she describes as nightmarish. Boards, she advises, need to ensure democratic processes support equitable redress.
Ten years ago, while most 21-year-olds were exploring their freedom, Toks Dada was spending his evenings and weekends reading company management reports, annotating business plans, and scrutinising financial accounts. Here he explains why.
Boards in the cultural sector often focus on improving the delivery of a conventional model, but as Anisa Morridadi argues, both trustees and organisations need to change.
One of the oddities of sitting on a board or being a trustee of a cultural institution is that there are no rules for how to do it - still less how to do it well. John Tusa offers a guide for survival.
