Arts fundraising is in an exciting state of flux and Ben Walmsley is confident that the next generation will be steering cultural change in the sector.
The arts need leaders who can convey a clear vision and empower their staff. Well, parents practice these skills every day and it’s time we started valuing their experience, says Justine Themen.
Are female theatre directors in the UK successful because they followed the linear, patriarchal route – or did they do it their own way, asks Amy Golding.
Following a recent weekend for aspiring dance leaders, Brendan Keaney is sure that in just a few days the participants were able to take important steps on the road to leadership.
Leading a regional theatre known for its championing of new writers and its capital projects, Jim Beirne discusses why he believes that listening to others and sharing ideas and practice has been crucial for his success.
A new coaching and networking programme supporting the next generation of female cultural leaders in east London is part of the legacy of London 2012. Claire Gevaux tells the story.
Sara Pepper just landed her dream job as Director of Creative Economy at Cardiff University. She tells us what exactly she does and how she came to do it.
The Sing with Us network of choirs brings together cancer patients and their families from across Wales. Rosie Dow describes her role as manager of the choir leaders.
Julie’s Bicycle and BOP Consulting have conducted a survey on leadership and environmental sustainability. Alison Tickell summarises the findings and plans the next steps.
With fundraising in the UK currently suffering from an image problem, how can we find the next generation of top arts fundraisers? Michelle Wright makes some suggestions.
Leadership style is changing, from the extrovert personality controlling from the front to someone who shares power and develops and fosters relationships, believes Sue Hoyle.
When the Ironbridge Gorge Museum Trust sought a new chief executive it chose someone with a financial background and not a museum one. Paul Gossage explains why.
