Over the past two years, Unlimited has undergone massive change. From a programme to an independent organisation and now an NPO, it’s on a mission to challenge the sector. Jo Verrent reports on that journey.
Following the publication of the Creative Industries Sector Vision, Peter Bazalgette, who advised on its content, speaks to Arts Professional’s Neil Puffett about the impact it will have.
Two years on from the launch of an international initiative exploring the creative economy for sustainable development, Fran Sanderson reflects on how impact capital can be a vital tool to support positive growth.
Amid recent concerns about the safety of artificial intelligence, Ben Wilson looks at its potential as a resource for fundraising, and the ethical questions it throws up.
Based in North Somerset, Trigger is a group of shapeshifting creatives who dream-up, create and produce bold and brave, live and digital events, to disrupt, reimagine and revive public spaces. Angie Bual is their Creative Director.
Data and insights are at the heart of good business decisions but finding the time can be a challenge. Curiosity and incremental learning could be the answer, says Zosia Poulter.
Belfast Book Festival is celebrating its 13th edition this week, bringing together Ireland's storytelling talent. Sophie Hayles is challenging the traditional model to deliver a festival that is more reflective of the communities across the island.
Chineke! is a ground-breaking foundation renowned for its commitment to increasing diversity and inclusivity in classical music. Its founder, Chi-chi Nwanoku shares how it has quickly emerged as a trailblazer.
Police collaboration in arts and culture projects improves their engagement with communities, building trust and confidence, as Jacqueline Hodgson and Rachel Lewis argue in their new report.
As Chair of the Centre for Cultural Value’s advisory group, Adah Parris reflects on the challenges and opportunities facing cultural practitioners and leaders keen to build a positive legacy.
Connection, communities and collaboration are essential ingredients for working with families, writes Anna Dever, Director of a new Investment Principles Support Organisation within ACE’s National Portfolio.
In the first of this series on new entrants to ACE's National Portfolio, Tim A Shaw and Niamh White share how this is enabling them to contribute more fully to the national conversation around arts and mental health.
Many arts organisations list patrons on their website but do we really understand their role? Megan Bennett shares her work building a patron portfolio at Contact.
For over 20 years, MKIAC’s work has been guided by Islamic arts and heritage, combined with influences from Milton Keynes’ different communities, says its founder Anouar Kassim.
Our recent research into everyday creativity reveals new ways cultural organisations could serve wider communities. But making the most of them, says Anne Torreggiani in this preview of a forthcoming resource, might need a radical rethink.
Not all disabilities are visible. So to make your digital spaces more accessible for neurodivergent users, writes Ell Powell, there are some key things to consider.
In the last in our series on widening participation, Diana Niepce writes: Two burnouts a year is not sustainable for anyone, but it’s a reality for disabled dancers. The sector needs to change.
There’s a wealth of talent and ambition in the UK’s younger generation but, if we ignore their needs, we’re at risk of losing a generation of creative talent, writes Tina Ramdeen.
As part of National Creative Health and Wellbeing Week, Julie McCarthy explores the challenges and opportunities for Greater Manchester in its ambition to become the world’s first creative health city region.
