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Live performances to paying audiences are the main focus of the tax relief, but live streaming and educational productions will also qualify.
Adrian Moule welcomes a report that encourages the UK's arts councils to offer loans.
The UK’s arts councils are being urged to seek permission to use government funds to provide short-term loans.
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.
Sean Egan shares some good news – another form of tax relief that will benefit charities and social enterprises.
Sean Egan takes a long-term view of the proposed theatre tax relief, suggesting how it could benefit subsidised and commercial theatre companies.
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.
Crowd-funding was a rough but eventually successful ride for Gill Kirk. She reveals the highs and lows of her month-long campaign.
What are the implications for arts organisations engaging in ‘non-primary purpose trading’, such as hiring out a room? Sean Egan gives an overview.
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.
Mahmood Reza, a big fan of business planning, explains why it is vital and demystifies some of the terms and tools commonly used.
Theresa Lloyd and Beth Breeze share some insights from their study of the attitudes and habits of potential donors.
When we commissioned Jessica Hepburn to write about fundraising, she wondered if she really had anything new to say. She certainly has…
As crowdfunding continues to make an impact, Sean Egan looks at its two forms and how the arts can take advantage of the opportunities it offers.
Linda Weston tells how the William Morris Gallery has recorded increased shop sales since its recent refurbishment.