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Can a small touring company benefit from running a Friends scheme? Liz Hill examines the opportunities and the challenges.
There are all sorts of financial interventions claiming to help organisations build resilience. But which can actually work for arts organisations? Sean Egan shares his tips.
Live and recorded screenings have the potential to develop and serve new audiences for small-scale theatre companies, as well as generate income, report concludes.
Live performances to paying audiences are the main focus of the tax relief, but live streaming and educational productions will also qualify.
Selling in the arts is improving but it could still learn a lot from retailers and travel companies, says Libby Penn.
A government-commissioned panel is calling for a ‘Fundraising Preference Service’ to be established, allowing the public to opt out of fundraising communications from charities.
Digital developments are helping arts organisations make more money. Sam Mitchell describes some innovative new business models.
Who really benefits from ‘pay what you can’ and ‘pay what you decide’ ticketing offers? Two organisations reveal whether it worked for them.
The 2008 crash shook Ali Pretty’s outdoor arts company hard. But after a bold decision to split the organisation in two, it’s now doing better than ever.
Unless arts organisations make their voices heard in the Government's Gift Aid consultation, the sector could shortly be facing a whole new set of challenges, says Philip Spedding.
A new guide by Julie’s Bicycle provides advice on integrating environmental sustainability into capital project funding bids.
There are probably more millionaires in your audience than you think. Libby Penn reveals how to find high-net-worth individuals already in your database.
Is it possible for small, regional arts organisations to secure significant income through sponsorship? Heather Stewart shares the secrets of two festivals that have done just that.
Arts organisations are changing rapidly to keep up with economic developments, but are grant-makers keeping up? Michelle Wright has her doubts.
Since opening its museum shop two years ago, the Sir John Soane Museum has seen it go from strength to strength, developing a valuable new income stream. Xanthe Arvanitakis explains how.
When Making Music learnt that it was no longer a National Portfolio Organisation, it was forced to rethink how it operated. Barbara Eifler describes a difficult six months.
Convinced that the current trend towards an instrumentalist approach to arts funding underestimates the true value of the arts to society, Graham Henderson urges arts organisations to seek new sources of earned income with greater confidence.
Financial independence and an ambitious artistic programme may seem incompatible, but Julia Fawcett has found a solution combining commercial savviness, efficiencies and sound planning.
Securing funding to produce its own play for the first time has been the breakthrough that Marlowe Theatre in Canterbury has wanted for some time, says Mark Everett.