Melissa Wong introduces a simple framework to help arts organisations identify their strengths, and build on them to boost their resilience.
Having worked in the arts all over the world, Matina Magkou has observed some common challenges – and ways of overcoming them.
With over 80% of staff under 30, Lincoln Performing Arts Centre’s workforce is relatively young. Craig Morrow reveals how providing training and clear progression routes have been key to its success.
As the Prosper programme comes to a close, Sarah Thirtle is convinced the sector would benefit from more business support.
Out of the Blue has weathered the storm of arts funding cuts in Scotland thanks to its social enterprise model and the support of ethical finance providers. Rob Hoon shares the story.
How do we get to the point where we are truly collaborating? Debbie Richards describes a project that sought the benefits of collaboration between fundraisers and marketers.
Creative United’s Prosper has delivered business support for arts and cultural organisations across England. Tyler Magas asks three organisations what changes they have made and what advice they would give others seeking business support.
After conducting a review into governance in the arts, Hilary Carty now finds herself leading the response to it. She reveals the Clore Leadership Programme’s plans and priorities for supporting arts boards.
Good governance is all about the culture of an organisation – and the good news is that trustees have the opportunity to influence it, says Michelle Wright.
If your audience includes young people, then they need to be represented on your board. Marcus Davey of the Roundhouse shares his advice for recruiting young trustees.
Passion drives the arts, but it also leaves the sector vulnerable to inappropriate behaviour. Ruth Rentschler proposes a framework for moral and ethical behaviour on arts boards.
A Northern Ireland scheme that places young professionals on arts boards benefits the sector and the young people alike. Natalie Cooke reveals what she gained from the experience.
As a small but fast-growing touring theatre company run by part-time staff, Hubbub Theatre Company has benefited from appointing a Director of Business Development. Jo Kemp explains what her job entails.
A £37m capital project is always going to be demanding, but throw in Grade-II listed status, asbestos and Roman remains and you’ve got a real challenge. Graham Lister explains how Storyhouse Chester managed it.
From up-selling and cross-selling to ancillary offers of food and beverage, merchandise and even car parking, Tim Baker explores a ‘AAA’ approach to increasing revenue.
Undertaking an impact assessment can be a daunting and complex task, but a new European project has developed a practical playbook to make it a whole lot simpler, writes Harry Verwayen.
Strict internal controls relating to expense claims, cash donations, online banking and financial transactions can go some way to preventing fraud. Mahmood Reza shares his expertise.
Librarians in a London Borough have developed a more commercial mindset and the CEO of a crafts gallery is more confident to approach prospective funders, both as a result of the Prosper business support programme. Bethan Hall Williams explains.
London’s West End is full of receiving theatres, but the Jermyn Street Theatre has recently rebranded and restructured itself as a producing house. Tom Littler tells the story.
Arts workers have lifted the veil on the secrecy surrounding sexual harassment in the arts, revealing the extent and impact of the issue in hundreds of comments through ArtsProfessional’s latest survey.