Taking responsibility
Who has responsibility for customer service in your organisation? If you produce your own product it may seem straightforward but,…
Posts
The Traditional, The Risky, The Unpaid & The Ugly: life after redundancy
In the wake of the NPO funding announcement last Wednesday there will be organisations up and down the country saying goodbye to s…
Protecting the playwright
As a producer who works largely in new writing, I’m always fascinated to observe the process a writer undertakes – bet…
Curation vs. education
Practically all public art Galleries have some kind of “education” or “engagement” arm to them, specifical…
Goals and Glory: lessons from the manager’s bench?
Last Friday I went to see Cheek by Jowl’s stunning, Russian company, ‘Tempest’ at the Barbican. Then, on Saturday afte…
Standards in community dance
I was recently invited to observe a dance lesson taking place as part of a community education programme. Although the artists kne…
Psychological realism in theatre
Take a look at the SPILL Festival programme which has just stormed the Barbican and you’ll see a number of exciting British…
Visual artists – your universities need you
With all the talk of cuts and fees its easy to get disheartened about the future health of creative industries in higher education…
Online presence
I’ve spoken here before about the benefits of the internet in bringing creative communities together, but how can we directly enga…
The Select Committee’s findings are a missed opportunity, says Christopher Gordon
After an inquiry lasting six months, Parliament published its report on the funding of arts and heritage just before Arts Council…
Alan Davey comments on ACE’s new portfolio of funded organisations
The past week has been really important for the arts. Since the Arts Council received its settlement from government in October, w…
If we do not support artists there will be little art, says Susan Jones
Hidden behind all the glitter of support to lottery-funded galleries is the sobering data that many crucial artists’ organis…
A howl of pain from the Pennines
Nick Hunt asks, why is ACE doing the Government’s dirty work?
What next?
Mike Ingham on ACE’s decision to cut funding to the Audience Development Agencies
‘My research is better than your research’
Liz Hill argues that now is not the time to put our heads in the sand about the impact of audience development activity in the art…
No change is good news
Roger Tomlinson on our story about audience development
If this is failure, we could do with a lot more of it
David Brownlee on our audience development story
Strength through dialogue
It is so disheartening to hear a theatre manager bemoaning a commitment to increasing audience engagement (Danny Moar, quoted in A…
Gateway music
There’s a lot of hubbub on t’internet at the moment about a certain Rebecca Black and her ‘viral’ ‘hit’ Friday. It seems the hive-…
A taxing problem
In ‘Charitable Deduction Limit: Bad For Art Nonprofits?’ Elizabeth Blair suggests that President Obama’s deficit-reduc…
Response to Christopher Goodhart
Christopher Goodhart is absolutely right when he calls for greater focus on developing philanthropy amongst the mass affluent; peo…
Do your Board put their hand in their pockets?
I have worked with a lot of boards in my time. Some incredibly supportive, a guiding hand from afar. Others so hands off they appe…
Just another day
For the vast majority of arts organisation in England (and pretty much all those in Scotland, Wales and Northern Ireland) 30 March…
What is a theatre review, and what is a theatre critic?
They may seem simple questions but topics that seem to be vexing many people at the moment. Is there a difference between a theatr…
