Creating a Diverse Board
Becoming a truly inclusive organisation starts at the top, says Cath Hume.
Posts
Job ladder: John Laidlaw
The Executive Director of Live & Local recalls a career trajectory that has taken him through Butlins, an old bingo venue and…
Unlocking the potential of peer learning
Learning from collective experience offers a wealth of benefits to those willing to invest in building a network, say Amanda Smeth…
Think self-care isn’t for you? Think again
Articulating our individual needs is important for everyone – especially those at the top of organisations, says Suzanne All…
Arts and culture workers join climate strike
National Theatre staff say the protest is “the beginning of a discussion in which we will push for our theatre to divest fro…
How ‘perky’ are you? Why happiness is the key to workplace productivity
Many workplaces are structured to generate stress, say Evelyn Wilson and Suzie Leighton. But there are simple techniques we can al…
The arts sector’s dirty secret
A lack of diversity will persist unless unfair levels of pay are addressed, says Becky Chapman.
Why we’re taking action on mental health
A new collective is enabling the sector to share insights and ideas to support better mental health and wellbeing, writes Laura Ed…
Building an appetite for change
It’s hard asking people to explore uncertainty – but when consensus is built across the organisation, it can unleash h…
Strike begins at Science Museum Group
The Prospect union says staff have experienced a 13% real terms pay cut since 2010.
ACE awards £7m to develop arts leadership
The 18 successful bids include projects working with potential leaders from lower socio-economic backgrounds, and those with learn…
Real change happens from the ground up
Top-down programmes will never bring about meaningful change, says Cath Hume – so it’s time for arts organisations and…
Is it time to reimagine the trustee board bank?
If arts organisations are serious about developing their boards, they need to think hard about how they recruit and support new tr…
How we doubled attendance at the UK’s most northerly arts centre
By working in partnership and refusing to patronise audiences, Lyth Arts Centre in Caithness has attracted record numbers, says Ch…
What we’ve learned moving from London to Essex
Relocating Kinetika’s work in carnival, outdoor and participatory arts to rapidly-changing Thurrock has allowed the company…
Exit interview: ‘We’re asked to follow a business model that just doesn’t work’
Arti Prashar was told to never create a job that no one else could fill. She looks back on 13 years as CEO of Spare Tyre Theatre C…
Who gets ACE funding? Diversity data reveals surprising trends
BME-led organisations were 60% more likely to fall at the first hurdle of Project Grants applications – while LGBT-led group…
Nothing but a number? Young people on boards
It's great that arts organisations are recruiting young people to their boards – but they need to really think about why…
How to do change better
Meeting future challenges in the arts sector will not be about managing change, but creating it, says Richard Watts.
‘They let us pick any artist in the world’: the freedom to create relatable theatre
The Contact Young Curators programme gave Wez Thistlethwaite the opportunity to re-engage his creative muscles by co-curating a wo…
Job Ladder: Clare Reddington
The CEO of Bristol’s Watershed looks back on how “a jumble of opportunism and serendipity” has helped her avoid…
How collaborative are you really?
Teams can fall into working in isolation, rather than together for a common purpose, in organisations of any size. Nick Stevenson…
Welcome from ArtsProfessional’s new Editor
ArtsProfessional is refreshing and renewing its style – but the integrity at its heart will remain, writes the publication&#…
My Gurus: ‘Only take what is needed’
A nature writer, a conservation group and the Sámi people of Northern Finland have all been among the key influences on the work…
