First thoughts on European culture in and from Ukraine after everything changed on 24 February 2022. Despite the unimaginable situations on the ground, five of our Ukrainian friends and colleagues proofread this text overnight. We owe them a great debt of gratitude and our thoughts are with them.

This article presents and briefly analyses three recent stories from three different regional contexts in Europe that demonstrate the positive impact of innovating connections with the audience. It discusses the values of hybrid approaches to arts and culture marketing, and the benefit of resilient practices of co-creation and cross-sectoral collaboration.

Cultural participation is repeatedly demanded by European cultural institutions. In the implementation, however, not all citizens are considered equally. Hence, it is about time for a reformulation and a rethinking.

Since the pandemic, the topic of "health" has received extremely heightened attention in the arts and culture sector. In addition to hygiene measures, cultural institutions can also help contain the pandemic by supporting vaccination campaigns, as examples from various museums in Brazil show.

Museums in the Arab World - holding a significant collection of the world’s cultural heritage - can reconfigure themselves as virtual platforms for their digitized artefacts and offer discussion rooms, workshops for assimilating new technologies, and spaces for intensifying regional cooperation. They would be spaces for a participatory discourse in societies under stress. To become such a "place for change,” museums must rethink their own roles, self-understandings, and capabilities. However, why museums have so far been prevented from assuming this role is not (only) due to technologies and funding.

Arts and cultural education at school can not only turn students into later regular adult visitors, but also inspire them to become arts or cultural managers. The example of China shows why theatres should invest more effort in such offerings to increase the attractiveness of arts management careers and prepare future arts managers.

Cultural institutions and initiatives are implementing participative formats for quite some years. But still, cultural policies in Europe focus on participation rather rarely both regarding their own decision-making processes as well as the institutions they support.

The pandemic has brought a lot of challenges to trainings and programs dedicated to the organization of culture. An experience from Brazil shows how such programs can adapt to their theoretical and practical character to digital formats.

Like society, the arts ecosystem is in a state of constant evolution. The book "Arts Leadership in Contemporary Contexts” underlines how arts leadership moves alongside these evolutions and is indispensable to every organization.

Studying and working in Germany for an extensive period of time gave Nicole Vasconi the space and opportunity to reflect on the U.S. arts and cultural sector - especially compared to other models and experiences of arts management - to better see its various positive and negative aspects from a wider perspective and derive from this experience better decisions for her professional future.

The professionals and companies of the culture and creative industries (CCIs) are important catalysts for development both for classical cultural institutions and for broad sections of the economy and society. A new study shows what the CCIs in Central and Northern European countries need to flourish.

Art and culture like to see themselves as representatives of social causes. But the pandemic has turned their solidarity towards themselves. Does this undermine their often proclaimed social relevance more than it helps them?

Before the pandemic, it did not occur to many arts and cultural institutions that they could - or even had to - generate revenue online. This has rapidly changed. What can organizations learn from the experiences of the last months?

Artistic places that distinguished themselves by their independence now do not only face precarity, but permanent closure. Nonetheless, independent places are essential for the artistic world and for developing new artistic expressions. Therefore, it is of highest interest to understand how these places are doing, in the face of the pandemic.

Gender stereotypes and only little diversity still shape the European Theatre Sector. These are the results of a study of the European Theatre Convention, which focused on diversity in staff and on stages across their network of 44 theatres around the continent.

Networks and open platforms for decision-making and discussion are highly important to build a (digital) community, especially in times of COVID-19. I became all the more aware of this because of the opportunity to volunteer as a co-organizer for the online Arts & Cultural Management Conference 2021 (ACMC) on the fitting topic "REvisiting Borders”.

As the Covid-19 pandemic continues to disrupt society, harnessing learning and creative problem-solving are integral to the survival of the cultural and creative sector. The 2021 gathering entitled ‘Cultural managers, their organisations, and their networks in times of crisis’ reflected the resilience of the sector to re-imagine ways of working and reaching current and post-pandemic audiences.

The cultural sector has so far been rather on the margins of the debates on CO2 emissions. But the reason is not that it does not contribute - because it does. And quite a few initiatives and projects worldwide are already successfully dedicated to climate-conscious and resource-saving arts and cultural management.

The pandemic has not only reaffirmed our ephemeral condition, teaching us to live in the moment. It has also underlined the importance of art and culture as a positive reinforcement in life and as a way to deal with its difficulties. And it has most of all emphasized the adaptability of artists.

In the face of the ongoing COVID-19 pandemic, artists and cultural organizations globally have been reinventing ways to present their offering on audience’s screens. But the streaming platform Twitch has so far been largely left out of the discussion among art professionals, even though it offers numerous potentials also for generating revenue for cultural offerings.