Describing the current Gift Aid scheme as “no longer fit for purpose,” the Treasury is calling for evidence of the problems presented by rules that limit benefits to donors.
Sean Egan believes the new Theatre Tax Relief signals a shift away from government support for the subsidised sector in favour of the commercial sector, and will cement a London-centric focus.
With little known about how small arts organisations can most effectively use crowdfunding, Oonagh Murphy decided to find out through leading a mentoring and development programme.
At a time when fundraising for the arts seems mostly to be done by white females, Michelle Wright speaks to development professionals about how we can face this diversity crisis.
At The Firestation, Dan Eastmond has been experimenting with dynamic pricing. It’s still early days, but with rising income and no grumbling customers, the signs are positive.
Selling a new building’s fixtures, furnishings and finishing’s through the box office is a fundraising winner. Libby Penn explains how Lyric Hammersmith’s online capital campaign has been raising money and engaging audiences – one click at a time.
Financial accounting changes are rare but a new financial reporting standard is to be introduced next year. Mahmood Reza explains what FRS102 will mean for many arts organisations.
The Royal Opera House has been sharpening its commercial agenda over recent years. Alastair Roberts describes how it has developed its brand licensing and media activities.
