A new report has been published on the role of local radio in supporting messaging about creativity and positive mental health. Robin Simpson shares its findings.
In the first of two articles on innovative pricing practices, David Reece explores different approaches to price setting and asks to what extent the emerging choose-your-own price model is a genuine alternative.
The challenges of shared leadership are the subject of much discussion, but the rewards are great, as the Core Artists of Unlimited Theatre have discovered over the last year.
Far from the elitist artform he once thought it was, François Matarasso has discovered opera offers possibilities for co-creation in the unlikeliest of settings.
As UNESCO’s World Conference on Cultural Policies and Sustainable Development takes place in Mexico, Stephen Stenning reflects on the vital role the arts play in achieving UN Sustainable Development Goals.
Dance Consortium has just embarked on its 50th tour. Its Chief Executive Joe Bates shares how the universal language of dance engages international audiences.
The way arts organisations responded to the pandemic offered a glimpse of how they could evolve. But a rush to any ‘return to normal’ risks squandering these lessons, says Ash Mann.
As the Centre for Cultural Value (the Centre) re-opens its Collaborate fund, Alice Chandler reflects on the value of research partnerships between academics and the cultural sector.
Reforms to the income tax reporting system will make it easier for freelancers to file their returns, says HMRC. But, as David Thomas explains, very few seem to know what the new regulations will mean.
Welcome back to this series on dynamism from Cimeon Ellerton-Kay and Natalie Hall. In this third article, we explore the final principles of the concept of effectuation.
Coventry won the prestigious title with the backing of local and regional organisations that recognised the benefits it would bring to the city and its people, writes Emily Coleman.
We need to hone our skills in human-centred design, over and above those in tech or data, to make the most of post-pandemic digital/live appetites, argues Anne Torreggiani.
Many funders are changing their strategies around funding for arts organisations, but Michelle Wright thinks those changes inadvertently work against widening reach.
What does a producer do? There are many possible answers but here Kate McStraw attempts to identify and articulate the most important aspects of the role.
A free, nationwide vocational training programme for young people with limited access to the arts has been unlocking creative potential for over 12 years, as Scott Graham explains.
As Birmingham applauds the extraordinary success of the Commonwealth Games, Sara Wajid and Zak Mensah reflect on the role of museums in shaping the city’s future.
There’s a perception that musical talent is about instrumental proficiency, so the stereotype of the child prodigy persists. But Hester Cockcroft says that denies the potential of those with no access to music.
A decommissioned North Sea offshore platform has been transformed into the gargantuan art installation SEE MONSTER at Weston-super-Mare’s iconic lido. Niccy Hallifax shares its inspiration.
Talent for the live events and creative industries is in high demand with many jobs to be filled. But as Rachel Nicholson highlights, to enter, students need training which gives hands-on experience.
With the climate crisis worsening, museum professionals are having to put environmental issues at the forefront of their decision-making, writes Veronica Ferrari.