Dementia friendly opera
A collaboration between The Geller Institute of Ageing and Memory and The Music Troupe aims to make opera dementia friendly. …
Posts
Challenging sponsors in a climate crisis
For more than 10 years, Chris Garrard has been active in demanding accountability from some of our major cultural institutions aro…
Post-NPO life
Following the closure of the Bridge network earlier this year, and an unsuccessful bid for ACE funding, Nick Owen of The Mighty Cr…
Releasing the potential of UK heritage
The National Lottery Heritage Fund has launched its 10-year strategy – Heritage 2033. Its Chief Executive, Eilish McGuinness…
Charity governance in need of urgent overhaul
In recent years, the model of charitable governance has become increasingly challenging, as Michelle Wright explains.
New approach to city metrics
A new index offers expert insights into the cultural resources of more than 500 cities worldwide, making it the only creative city…
Re-thinking artist residencies
What are artist residencies and what part could they play in nurturing inclusive and sustainable creative practice? A recent confe…
Democratising theatre with VR
Kelman and Gemma Greig-Kicks are on a mission to use virtual reality technology to democratise theatre and provide new income stre…
Disabled and starting out?
Unlimited provides roles for disabled people in the arts, starting at entry level. Jo Verrent reflects on her first job in the cul…
Recruiting for digital
Recruiting for digital roles is tricky, which is understandable given cultural organisations have not traditionally had to hire fo…
Supporting freelancers to develop digital skills
With digital technologies developing at pace, freelancers need to develop their skills throughout their careers. Rob Lindsay outli…
Partnerships with universities yield long-term impact
Oliver Mantell examines the many benefits of working in close collaboration with university partners on developing skills in the a…
Women & Theatre at 40
Women & Theatre is celebrating 40 years of pioneering work. Founder member and Artistic Director Janice Connolly reflects on h…
Audience behaviour: Where do we go from here?
As the Covid aftermath continues to unfold, David Reece explores how audience behaviour has changed and what that means for the wa…
Making evaluation valuable
As the Centre for Cultural Value launches a free online evaluation course, Dawn Cameron explains how evaluation can help organisat…
Unravelling the legalities of the stolen British Museum artefacts
The scandal of the British Museum thefts has sparked an immense, international public reaction but, as litigation expert Rosie Adc…
Community is the foundation of culture
Heritage Open Days returns with thousands of free events and experiences. The National Trust’s Tom Freshwater reflects on wh…
Digital marketing for arts sector beginners
Whether you’re new to digital marketing or have been bluffing your way through for a while, Lauren James has put together a…
Lessons from Black British theatre
Kimberly Harding’s desire to study Black British theatre was born decades ago. This summer she travelled to London to make i…
How do you get into dance?
Zoie Golding and Ollie Webb are 20 years apart in age and experience. Coming from backgrounds where a career in dance would be unl…
Bringing live music to Birkenhead
Covid was a challenging time for live music. But that didn’t stop Future Yard, a new live music venue in Birkenhead, from op…
Creative recovery?
A new report from King’s College London and the World Cities Culture Forum looks at the role of cultural policy in shaping u…
Brand loyalty isn’t always the answer
Thinking of rebranding? Rob Macpherson unpacks what you need to think about before embarking on a radical rethink of your image.&n…
Time to be heard
Young people are often excluded from conversations and decision making in the arts. Jacqui O’Hanlon shares an initiative whi…
