Grassroots culture undeniably delivers huge benefits to communities and local economies, but Martin Cox believes it could also resuscitate the funded cultural sector.
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.
How does a dyed-in-the-wool advocate for public subsidy of culture feel about social investment for the arts and cultural sector? Moira Sinclair reflects on what she learned as a committee member of the Arts Impact Fund.
By taking a robust approach to understanding the social class make-up of the workforce, the cultural sector can address entrenched inequalities. Dave O’Brien suggests a way forward.
Bolton's Octagon Theatre offers refugees and asylum seekers a warm welcome and opportunities to share their experiences. Deborah Dickinson tells the story.
Leaders in the arts sector need to focus more on self-awareness and reflection, which is why the Boosting Resilience programme has developed a course on reflective journaling. Clive Holtham and Catherine Rogers report.
A new cultural curriculum in Bristol aims to reverse the decline in arts education. Phil Castang explains how the creative arts can enrich the teaching of STEM subjects.
Many arts organisations need to think differently about their intellectual property to generate much-needed revenue. Luke McDonagh demystifies copyright, trademarks and other common barriers to exploiting IP.
A cloud-based accounting system allows you to manage your financial information more efficiently and cost-effectively. Mahmood Reza outlines its features and how to set one up.
With arts engagement known to play a key role in social mobility, Claudine Matthews calls for UK cultural institutions to take a cue from the Finnish and become more welcoming to young children and families.
Technological and digital developments grow exponentially. The arts sector must take advantage of the technology available now and be ready for the digital changes ahead, advises Daniel Rowles.
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.
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.
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.
