Taking an outdoor show on tour presents many challenges, quite different to those for venue-based touring. Irene Segura explains how a consortium model is supporting artists and companies.
Few arts venues have programmed main stage shows starring performers with learning disabilities, but new diversity requirements for England’s NPOs could change that, says Gus Garside.
Tax relief can be a lifeline for many arts organisations, so why are so many smaller theatre companies and independent producers missing out, asks Clara Giraud.
Many artists find it difficult to sustain their practice early on in their careers. Nicola Sim shares the findings of her research into how arts organisations and funders can best support them.
Legacy giving has huge potential as a source of future funding for the arts, especially in Scotland. Richard Radcliffe offers tips for getting started.
When trustees and senior managers develop their fundraising skills alongside staff and volunteers, some key barriers to fundraising success can be overcome. Miranda Rowlands explains.
Do we know more about the worth of the arts than we did 30 years ago or have we been going in circles? Researcher Patrycja Kaszynska and consultant Ian David Moss discuss researching the value of culture in the UK and the US.
Has music become too pigeon-holed into distinct genres? Tony Haynes asks how we can truly promote cultural diversity when the opportunities for creativity are so restricted.
To improve the diversity of the workforce, arts organisations need to employ more young people from low-income backgrounds. Kate Danielson shares tips for adjusting recruitment practices to do just that.
A hundred years after (some) women got the vote, they are still under-represented in creative and management positions in the arts. Theatre company Spare Tyre champions women, and Lynette Shanbury calls on everyone to do the same.
The Boosting Resilience programme is helping the sector develop new approaches to resilience based on creative assets and intellectual property. Sara Jones and Evelyn Wilson introduce the programme.
