YAJA is a project by Art News Portal to foster art journalism among journalism and creative art students worldwide. It gives students who found their love for journalism the opportunity to showcase their talent in capturing art and culture in a creative way.

The 24th ENCATC Annual Conference took place in Valencia, Spain, from 57 October, 2016. The event brought together about 160 academics, researchers and professionals from the cultural sector, policy makers, artists and students from over 30 countries. And with a more focused and application oriented program their debates about the new paradigm needed for cultural management and policy to face todays risk societies could have in fact been very fruitful and inspiring.

"Introduction to International Arts Management" deals with the reactions of arts managers in more than 45 countries around the world to globalization and illustrates how arts organizations strive to internationalize not only to increase competitiveness, but also to reach out to an increasingly diverse audience and bring the potential and talent that is inherent in this diversity to the forefront.

In this series, I introduce a selection of neglected aspects and competencies from my book The A to Z of Arts Management. This chapter is about the uncertainty and challenge of running an arts company.

BBC Advertising just published an international in-depth report on millennials and the misconceptions surrounding this highly sought after generation. By conducting over 14,000 interviews across 31 countries and seven markets Australia, Germany, USA, Canada, India, Singapore and South Africa the report's findings make it easier for marketers in cultural institutions to target the most attractive and commercially receptive segment within that group.

The Agenda company organised the Communicating the Museum conference on 12 - 15 July 2016 in Berlin, Germany. As is usual with these conferences, one of their main raison d'être - reasons for existing - is the opportunity to inform yourself about the latest developments in a wide ranging of topics - in this case arts communications and fundraising and to network with like-minded professionals. As such, CTM was able to provide the over 200 participants and 50 speakers from all over the world with plenty of opportunities to do so.

In this series, I introduce a selection of neglected aspects and competencies from my book The A to Z of Arts Management. This chapter is about love for ones job and why it is important to be more open to the desires and needs of the people you work with and for.

The DMA is committed to knowing its museum visitors better and deepening their connection with the art displayed in its collections and special exhibitions. For over 10 years, the museum has conducted research using diverse evaluative tools that support the staff in their efforts to better understand the preferences, actions and curiosities of its audiences. Through this increased knowledge, museums gain valuable insight for nurturing relationships between people, art, and museums.

Functions that are often considered secondary to museums scholarly competencies include revenue generation such as fundraising, meetings and events, museum shops etc. Over the last five decades or so, German friends associations have developed organically to fill many of these needs. In the United States, in contrast, museums fulfill these functions themselves, including their membership programs, suggesting an intriguing contrast and lessons to be learned.

In this article, I hope to give you some insights in how developing empathy for others will help you lead your staff in such a way that you'll be able to better meet the uncertainty and challenge of running an arts company.

Jeremie Gluckman spoke with the cultural managers working with or within arts enterprises in the U.S. and China. These leaders are all using the internet to engage local communities and share stories with the world. All the while, they are wrestling with challenges related to representation when contributing to the sea of messages, information, and images online. They are also equipped with an awareness of skewed access.

In this article, as I hop on a plane to fly to Europe to escape Melbournes winter cold, I will recommend the rejuvenating effects of holidays for both you and your staff.

Is well-intentioned the same as well done? With the concept of effective altruism, William MacAskill presents criteria to assess the work of non-profit organizations and make them more effective. His unusual but sound approaches can also be applied to the field of arts and culture. At the same time, MacAskill's book is a practical and intuitive guideline for facilities, staff workers and supporters of non-profit cultural work.

My course on cultural management at the National School of Drama (NSD) in New Delhi is a prime example for how it is for a Western lecturer to teach in India: On the one hand, one cannot presume many of the things that Western students would naturally know about. On the other hand, there is a wide range of cultural-managerial knowledge and skills, passed down in part through the generations under different labels, different names or simply without any special designation. At the same time, the work in a country like India is by no means any more exotic as in Europe.

The Open Society Institute Assistance Foundation in Tajikistan is about to launch a new MA program in Arts Management in Dushanbe, in partnership with four local universities. This will be the first program of that kind in the region of Central Asia. The program needs a solid backup by methodological materials on diverse subject matters. Therefore the coordinators plan to open a Resource Centre for Arts Management (both online and offline), to be managed by the renowned nonprofit organization Dushanbe Art Ground. Thus, they kindly ask for donations of materials to the new center - publications, books, documents and so on.

The French sociologist and political scientist Vincent Dubois' book Culture as a Vocation deals with the central questions concerning career decisions in cultural management: When and where had this comparatively young job profile its origin? Who aims for such a career today and which are the social and personal factors that influence this decision? With his answers Dubois lays the foundation for a yet strongly neglected field.

Liechtenstein is one of the smallest countries in the world and most people connect it to its former status as a tax haven. We spoke with Professor Dr. Rainer Vollkommer, the director of the Liechtenstein State Museum about what it is like to direct a cultural institution with a regional focus in a country that many regard as provincial.

The IAMA meetings twice a year are a firm date in many artist managers diaries. The first one of this year took place in Utrecht, Holland April 7-9, 2016, and attracted over 400 delegates with the motto "Shake it off". This could be interpreted in various ways - shake off the depressive mood that has become so prevalent when talking about classical music or shake off the old ways of doing business and take active steps in new directions. Both interpretations were equally valid within the context of the discussions.

In many European countries, the arts, heritage and cultural sector is supported by or partially subsidized by government. However, due to the economic crisis and cuts in budget, the amount of funds for direct subsidies is decreasing. Starting from this assumption, the project Empowering Museum Professionals and Heritage Organizations Staff by cultural entrepreneurship training and research (EMPHOS) has the objective to develop entrepreneurial skills and attitude among cultural professionals.

If leaders would approach emerging problems like designers, many products, services and procedures would become more functional, and would be able to create long lasting values for the organisation and society. For that reason we present a novel integrative education concept, the DIS.CO EXPERT leadership program. It is built on the interaction of different disciplines and the collaboration of different professions, and places business professionals into designer and artist roles, while designers and representatives of the creative disciplines are enforced to become leaders.