The feelgood factor: making flagship programmes work
Artistic excellence and effective governance are key to the success of major public cultural programmes, writes Nigel Hinds.
Posts
Pouring water back in to the well
Are we serious enough about how we’re feeling and coping at work – from our life–work balance to our ability to…
‘The problem is that everybody hates it’: insights from qualitative research
An analysis of motivations helped a contemporary music ensemble upend received wisdom about its audiences. Celia Duffy and Charlot…
We need to work harder on donor diversity
For too long arts organisations have limited their individual giving efforts to white British donors. Michelle Wright urges an app…
Paying artists for their time
Why do so many artists not include a fee for their own time when they apply for funding? Lilli Geissendorfer explains how Jerwood…
Gaining confidence around compliance
The Primary Authority scheme can help reassure arts organisations they are meeting legal requirements on health and safety, tradin…
From crisis to creativity
Nottingham Refugee Week shows how opportunity can come out of a crisis when communities work together, writes Anna Ball.
Creative processes at the heart
The place in which a cultural organisation finds itself can determine how it thrives, survives or even dies, but many organisation…
Flourishing cultural eco-systems
Jonathan Gross and Nick Wilson reflect on their recent research into cultural ecology and suggest what the future of progressive p…
Redefining the City of London through culture
The global finance hub is forging a new identity through risk-taking alliances between its commercial, public and cultural sectors…
Silence speaks volumes
The economic value of our creative industries is clear. But it's not so clear that they're a priority for candidates wanti…
It’s time to be honest about failure
New research suggests that cultural organisations are reluctant to admit to failure for fear of losing their funding. To make genu…
Standing out from the crowd
Many young people dream about breaking into the performing arts industry, but without some work experience it can be almost imposs…
Finding a way with words
The ability to write clearly about an organisation’s ethos, approach, and audience needs is an essential skill for effective…
Giving youth a voice
Engaging with young people is a sound investment in future audiences, says Annabel Thomas – provided you are clear about why…
Boosting your financial credibility
Alison O'Neill shares her thoughts on how small arts organisations can acquire the financial expertise that grant-making bodie…
Rediscovering a role for artists
A series of informal surgeries for creative artists in Salford uncovered widespread disillusionment, says Steve Slater – as…
Creativity + innovation = change
Patrick Towell unpicks the crucial differences between creativity and innovation in the context of rapid change in the cultural se…
Leading at all levels
How can we best develop leaders for the future? Cath Hume suggests we start by creating more leadership opportunities throughout t…
Improving the volunteer experience
How can arts organisations best nurture a thriving and committed community of volunteers? Robin Hall shares her experience of gain…
Join the club
Adam Szabo shares seven principles that have helped Manchester Collective attract younger audiences to its classical concerts.
Access to entry-level roles
Many entry-level roles in the arts are taken by overqualified graduates, but a project in Wales is opening up opportunities to tho…
Don’t run at it
What is it like to join Arts Council England's National Portfolio? Annie Rigby shares her stories of joy, relief and fatigue f…
Making the impossible possible
Last month, weekly arts group participants with sensory impairments, physical disabilities and mental illnesses came together to p…
