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Moya Maxwell looks back on a career that has taken her from managing live events to running Shobana Jeyasingh Dance.
Many young people dream about breaking into the performing arts industry, but without some work experience it can be almost impossible. Ruby Clarkson offers some guidance on how to find it.
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.
Alison O'Neill shares her thoughts on how small arts organisations can acquire the financial expertise that grant-making bodies are looking for.
How can we best develop leaders for the future? Cath Hume suggests we start by creating more leadership opportunities throughout the organisation.
How can arts organisations best nurture a thriving and committed community of volunteers? Robin Hall shares her experience of gaining accreditation from the Investing in Volunteers standard.
Lord Jay of Ewelme said the Government had failed to address concerns “that applying the current visa system to EU nationals would make it harder to bring talent to the UK”.
Many entry-level roles in the arts are taken by overqualified graduates, but a project in Wales is opening up opportunities to those most suited to them, says Sarah Mair Hughes.
Tom Velvick looks back on how a career that began in advertising has now led to him overseeing the "all things to all people" arts label Dead Man.
Having recently announced that South East Dance is to produce an all-female dance programme, Cath James discusses the complex issue of gender quotas.
By opening up more realistic discussions around motherhood, Motherworks seeks to support those suffering unnecessarily. Ruth Dudman explains.
Corrina Eastwood and Charlotte Elliston, Co-Directors of feminist arts organisation Sweet 'Art, look back on the people who have inspired and guided their work.
A deadpan Indian humourist, a Finnish psychologist and a mischievous artist: theatre makers Jon Haynes and David Woods look back on their career gurus.
At London’s Royal Opera House, 14 senior managers and a further 12 performers were paid over £100k in 2016/17, amounting to 17% of its annual Arts Council funding.
All too often the cultural sector holds back from conversations about mental ill-health. Colin Beesting shares his manifesto for a more proactive approach.
So you think freelancing could be for you, but are you clear about the importance of networking, fee-setting and admin? Lucy Tomlinson offers some guidance on what to expect.
Researchers say parents and carers are being “pushed out” of arts careers due to low wages and a lack of job security.
Anne Torreggiani explains why participating in an EU-funded Erasmus programme has prompted her to re-evaluate the ability of interns to act as a source of new ideas and fresh thinking.
Not convinced that existing artist development programmes were making a tangible difference, New Perspectives Theatre Company has created a year-long scheme designed to be both open and flexible, says Jack McNamara.
Ed Collier, Co-Director of independent theatre company China Plate, shines a spotlight on the artists and professionals who have shaped his career.