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Becoming a truly inclusive organisation starts at the top, says Cath Hume.
The Executive Director of Live & Local recalls a career trajectory that has taken him through Butlins, an old bingo venue and many, many village halls.
Learning from collective experience offers a wealth of benefits to those willing to invest in building a network, say Amanda Smethurst and Tamsin Curror.
Articulating our individual needs is important for everyone – especially those at the top of organisations, says Suzanne Alleyne.
National Theatre staff say the protest is “the beginning of a discussion in which we will push for our theatre to divest from big oil sponsorship”.
Many workplaces are structured to generate stress, say Evelyn Wilson and Suzie Leighton. But there are simple techniques we can all learn to support better resilience and creativity.
A lack of diversity will persist unless unfair levels of pay are addressed, says Becky Chapman.
A new collective is enabling the sector to share insights and ideas to support better mental health and wellbeing, writes Laura Edralin.
It’s hard asking people to explore uncertainty – but when consensus is built across the organisation, it can unleash huge energy, says Richard Watts.
The Prospect union says staff have experienced a 13% real terms pay cut since 2010.
The 18 successful bids include projects working with potential leaders from lower socio-economic backgrounds, and those with learning disabilities.
Top-down programmes will never bring about meaningful change, says Cath Hume – so it’s time for arts organisations and funders to shift their approach.
If arts organisations are serious about developing their boards, they need to think hard about how they recruit and support new trustees, says Michelle Wright.
By working in partnership and refusing to patronise audiences, Lyth Arts Centre in Caithness has attracted record numbers, says Charlotte Mountford.
Relocating Kinetika’s work in carnival, outdoor and participatory arts to rapidly-changing Thurrock has allowed the company to renew its purpose and increase its impact, says Ali Pretty.
Arti Prashar was told to never create a job that no one else could fill. She looks back on 13 years as CEO of Spare Tyre Theatre Company.
BME-led organisations were 60% more likely to fall at the first hurdle of Project Grants applications – while LGBT-led groups were 25% more likely to secure grants.
It's great that arts organisations are recruiting young people to their boards - but they need to really think about why, says Dana Segal.
Meeting future challenges in the arts sector will not be about managing change, but creating it, says Richard Watts.
The Contact Young Curators programme gave Wez Thistlethwaite the opportunity to re-engage his creative muscles by co-curating a world premiere at this year’s Manchester International Festival.