In times of crisis, the role of art and culture often becomes particularly clear, as they reveal new perspectives and create welcome distraction and positivity. Cultural institutions can now use this to strengthen their position in the long term.

We currently see how fragile artist careers can be when contracts and attention suddenly collapse. Talent therefore seems not to be enough to guarantee a long-term career as an artist entrepreneur. That’s why Marco Thom has developed a matrix of necessary management skills for self-employed artists and cultural entrepreneurs that is already used around the world.

The creation of a cultural space proposed and collectively managed by children, youth and adults is not an easy task, neither in well-equipped Western countries, nor in Brazil with its long tradition of approaching cultural management as community management. Bruno Vilela, educator, curator and founder of the Área Criativa project in an indigene community of former enslaved people, talks about the work and methodology that raised a local "Open Roof Space".

With the increasing enthusiasm for the "smart city", the interest for the paradigm of the creative city has flattened out again. This, however, has not prevented the renowned British publisher Edward Elgar from persuading Charles Landry to write another book on the subject, although it seems that everything, or at least much, has already been said in his previous books.

Floods and storms, pandemics, destruction of environment, terrorism and so on. The number of risks and crises for the arts and cultural heritage is steadily increasing. Emergency management therefore should be a fix part of the process management of every arts institution.

With change as a given, plans ensure preparedness for artist entrepreneurs. This means being proactive rather than reactive. Plans ensure not panicking about what’s taking place around you. No matter the circumstances. Artist entrepreneurs, like many of us, often don't spend time to consider where they are going. If this is the case for you, how will you know how to get there?

The Master Program in Management of Performing Arts and Industries at the National Academy of Theatre and Film Arts (NATFA), Sofia, Bulgaria has undertaken an initiative to establish a Resource Center in Arts Management at the Library of the Academy. It therefore kindly asks for online or print publications on cultural management and policy.

In "Art and Economics in the City - New Cultural Maps", the authors examine different ways arts and culture have been framed in policies, interventions, discourses and projects in cities around the world. Although urban policies are a very locally rooted subject, the book contributes to creating a body of knowledge necessary for interpreting international practices and gaining a deep understanding of the current challenges and tools available.

Transnational music practices have been paid large attention to by musicians, arts management professionals, social scientists as well as internet-mediated audiences. "Music Practices across Borders” is exactly the book to address the current issues of its practices and how musical genres are interconnected by mass migration and globalisation.

In November 2019 I was lucky to attend the International Winter School ‘Brokering Intercultural Exchange within Societies’. During the three days, I had a very warm feeling of being understood. Though the participants came from different countries and had different backgrounds, we were a community of like-minded people who are truly passionate for arts and culture.

For many artists, dealing with the artistic traditions of their home country is a form of identity building and affirmation. Therefore, they can be perfect trainers for such processes. By seeing gaps in the European education system, Oumar Sagna, a musician and dancer from West Africa, is able to stand on his own two feet as a musician and dancer. He uses his cultural traditions to enrich other cultures by teaching them to children and communities, especially in the UK.

The success of artists lies very much within their own mission. Often the struggle of earning enough money to live can mean that artists start working in ways that causes exhaustion and upset. anGie seah is an artist living in Singapore who follows her heart and measures success against her level of enjoyment. But, does this pay the bills? It seems that it can.

Hilary Carty is one of the most prominent voices in cultural leadership in UK and abroad. Beth Ponte had a chance to visit her in her office at Clore Leadership, located at Somerset House in London, for an interview and she talked with great clarity about changes in cultural leadership, the relationship between governance and diversity as well as trends in leadership training for the cultural sector.

Artists are turning to new technologies to gain visibility and make sales to collectors. In this article, I would like to make an overview of the available tools that visual artists may use to self-promote online, build a community around their work and communicate their vision to a wide audience globally.

Music production has long been a highly specialised business. But with the development of cheaper and easier to handle equipment, it is getting simpler to produce and market one’s own music. Nonetheless, as the example of Marcelo Fruet shows, this needs additional competencies in arts management and technology.

Even for successful Visual Artists their income from art alone is sometimes not sufficient to live properly. Combining their artistic work with experience in arts management can help making a living. But, as the example of Mickey Smith shows, even that doesn't always help against unpredictable changes in life.

Fix employments for dancers are rare - and not necessarily desirable. Laila Diallo, a dance maker living in Bristol, UK, shares her thoughts on what has supported her when she started her own business - something that isn't easy either - and how artist entrepreneurs can get jobs even if they are not the loudest self-promoters.

Beijing Poly Theatre Management, a state-owned company founded in 2003 in China, has become the world’s largest theatre chain and performing arts agency. This article tries to delve into the reasons why the company could grow so fast in less than two decades and the key role it has been playing.

Since 2012, SPACE has been leading partner on delivering artist professional development programmes for the arts sector in London. During this time, our focus has been on encouraging artists to reframe their practice as a business. Here is what the artists - and we as training providers - learned.

As the world becomes more globalized, more people interact with foreign cultures. But how are non-native art forms and institutions exported to and preserved in foreign contexts? The summer issue of the Arts Management Quarterly provides answers to this question.