A perfect placement
Unable to take on unpaid work, Salome Wagaine thought she might be excluded from a career in the arts. Then she found out about th…
Posts
Data worlds explored
Placing data-scientists-in-residence in arts organisations has led to some futuristic tools that are of real use. Cimeon Elle…
Reaching the huge numbers
Older people want to be part of an intergenerational community not a ‘crinklies camp’. Stephanie Fuller shares this an…
The right man for the job
Arts Council England Chief Executive Darren Henley talks to Liz Hill about arts funding, placemaking, education… and transp…
Whose data is it anyway?
In an era of data sharing, Marcus Romer asks who audience data belongs to: touring companies or venues?
How to… become an arts critic
Making a name for yourself on the critic circuit is no simple task – and getting off the ground can be the hardest part…
Serving which community?
Do theatres really believe their own soundbites about being community-led, open and accessible buildings, asks David Sedgwick.
Seeking shared spaces
Jessica Bowles took students from The Royal Central School of Speech and Drama to curate the Prague Quadrennial's SpaceLab …
The word’s the thing
How can literature and publishing thrive in the wake of Creative Scotland's review of the cultural sector, asks Andrew Ormston…
Learning for real
Working with partner universities in Barcelona and Warsaw proved to Janet Hetherington that practical training is key to a rich, c…
Raising our game
Selling in the arts is improving but it could still learn a lot from retailers and travel companies, says Libby Penn.
New business models
Digital developments are helping arts organisations make more money. Sam Mitchell describes some innovative new business…
Ready for change
Arts fundraising is in an exciting state of flux and Ben Walmsley is confident that the next generation will be steering…
Graduates need not apply
Recent arts graduate Gemma Whitham assesses the prospects for those, like her, seeking employment in the arts.
How to… build a brand
How do you get from first gig to internationally recognised festival? Amy Pearce of EFG London Jazz Festival shares her tips.
Approaching the rich
How do arts organisations attract donations from wealthy entrepreneurs? One of them, Mahdi Yahya, offers his tips on how to approa…
Rural versus urban
Some arts attenders are more ‘promiscuous’ than others, the Audience Agency’s data can reveal.
Adding years to life – and life to years
When will all commissioners recognise that activities like dancing and singing help maintain older people’s quality of…
What should we be doing?
Public sector finances are not going to change any time soon, so we need to act to make sure efforts to bring arts and culture to…
Building a stronger case for support
Do potential donors really understand the value of small-scale touring theatre? Joanna Ridout considers how the sector might bette…
Knocking with intent
Want to attract support from local businesses? First you’ve got to learn to talk the talk, advises Jon Flinn.
Creative and commercial
The 2008 crash shook Ali Pretty’s outdoor arts company hard. But after a bold decision to split the organisation in two, it&…
Shouting as loud as ever
Is an arts organisation dedicated to LGBT issues still necessary or even relevant? Yes, says Neil Anderson, so long as i…
Gift Aid: speak now or forever…
Unless arts organisations make their voices heard in the Government's Gift Aid consultation, the sector could shortly be facin…
