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The authority says charities that don’t pay “need to reflect on the fact that they are not contributing to the costs of fundraising regulation”.
The institution has rejected campaigners’ claims that it has “done nothing” a year after promising to reassess its fundraising approach – but won’t make the review public.
The Insolvency Office will investigate the crowdfunding platform’s failure, but repayment of what’s “rightfully” owed to musicians seems unlikely.
Researchers and fundraisers are looking to pilot new models for encouraging financial support to Black-led arts organisations.
The GLA has agreed to underwrite a budget shortfall of up to £12m, which is expected despite a £9m a year boost in funding from DCMS.
A growing number of organisations fear that a slowing economy will harm their ability to raise funds.
For too long arts organisations have limited their individual giving efforts to white British donors. Michelle Wright urges an approach that prioritises donor diversity.
The ability to write clearly about an organisation’s ethos, approach, and audience needs is an essential skill for effective cultural sector fundraisers, says Caroline McCormick.
New research warns that “the wider macroeconomic environment will impact on the ability of charities to raise funds when individuals experience a decline in disposable income”.
Great storytelling is about connecting emotionally with audiences and donors in a clear and succinct way, says Michelle Wright.
The Conservatoire in Blackheath recently arranged a finance plan with Triodos Bank to fund its future activities. Phillip Bate explains how the bank’s ethos and belief in the cultural sector made it happen.
Art Fund volunteer Jane Crease responds with incredulity to reports that the charity's financial support for its volunteer network can no longer be justified.
Hanna Streeter, Executive Director at Orange Tree Theatre, reflects on the key influences on her career, including being inspired by theatre in-the-round and going full circle.
Christine Harmar-Brown draws on her experience of submitting and assessing applications to offer some pointers on what works.
The move follows a 2017 pilot project that found arts and heritage crowdfunding donations increased by 17% when the project was match-funded.
How can the ‘fix-it style' philanthropy of the mega-wealthy US tech entrepreneurs be applied to the arts in the UK? Michelle Wright shares her thoughts.
Don't make the mistake of thinking homogenous jargon will push a funder's buttons, says Phoebe Walker.
In real terms, institutions sponsored by DCMS have increased their income by over a quarter in the past decade, despite a 19% reduction in direct funding.
Should trustees on arts boards always be expected to give a donation, as is commonly the case in the US? Michelle Wright weighs up the pros and cons of this thorny issue.
Tate, the British Museum and Imperial War Museums have all recently completed drives to gain support for large-scale capital work, but economic changes also played a part in the decline.