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.

When developing digital formats, it can be difficult for galleries, libraries, archives and museums (GLAM) to involve potential users and new groups instead of spinning in their own circles. In order to be successful, hackathons such as Retas Budaya ("Hack Your Culture”) are a great way to integrate new perspectives.

In recent months, most European countries have highlighted the value of art and culture and taken measures to reduce the impact of the pandemic on the sector, albeit to very different degrees.

On 11 November, Dr. Rocío Nogales Muriel was announced as the winner of the 7th ENCATC Research Award on Cultural Policy and Cultural Management for her PhD on "Social transformation and social innovation in the field of culture: The case of the SMart model and its adaptation across Europe" obtained from the Center for the Study of Culture, Politics and Society (CECUPS) at the University of Barcelona in Spain.

During the corona virus pandemic, the structures of the cultural sector we used to believe in seem to have fallen apart. So maybe it is time to take a deeper look at the more adaptable and flexible cultural management concepts from the Global South where institutions are more permeable to how they can serve their audiences, be flexible in terms of structures and accept that what really matters is always on the go.

Many arts and cultural institutions are open again. But the visitors are still absent and also the employees are not necessarily comfortable. During our Arts Management Webinar on October 14th at 2 pm CEST Leah Hamilton will explain how to give them back the feeling of safety.

Arts institutions across the globe have begun their re-opening process and it is apparent that just because officials announce it is safe to re-open, visitors and staff might not feel safe participating. How can we change that feeling?

For artist entrepreneurs, successful time management is successful self-management. And successful self-management requires planning and organization and discipline—the ability to respond and commit to your needs and wants first and foremost.

The pandemic changes many aspects of the publicly funded cultural infrastructures of Western countries, that much is certain. However, for the changes to move in a positive direction, cultural professionals and politicians have to confront themselves with uncomfortable questions.

Every arts and cultural manager is influenced by internationalization and globalization, regardless of where they are based, or what their specific jobs look like. This also means that they should pay attention to the circumstances that fundamentally influence international work in the cultural sector. This book is a perfect introduction.

One of the most distinctive outcomes of the crisis for the cultural sector is that it shrunk the global to fit our computer screens and made local events resound globally. The digital or immaterial became tangible, substituting for what we previously enjoyed as physical and proximate.

We are living in the collision of two pandemics. The coronavirus crisis collided with the ancient, global and persistent pandemic of racism. In recent weeks, amid the COVID-19 crisis in several countries, thousands of people have taken the streets to reaffirm that #BlackLivesMatter. Now the demonstrations advance inside arts institutions, which will be forced to reflect on which side they are from when it comes to racial equity (and more).

The concept of cultural participation has seen an increasing boom in recent years. But is this "career" just a fad of cultural policy and cultural management of our time or will it shape the future? A book from Switzerland addresses this question with articles in German, French and Italian.

Italian actor, artist and cultural entrepreneur Giovanni Morassutti and Bangladeshi curator and researcher Sadya Mizan have been collaborating in 2019 in the International project Uronto - an Artist-Led Open Collective in Bangladesh with a residential exchange program. In the following interview, they share its outcomes for international arts management, curatorship, cooperation, and similarities and differences between art practices in the Western and the non-Western world.

In early April, the English foundation NESTA published a comprehensive analysis of the likely impacts of COVID-19 on the world whose title is short and direct: There will be no 'back to normal'. Not returning to normal does not mean that there will be no future for humanity and within it for the cultural sector. But it means it can be radically different from what we thought. In the first of a series of three articles, I try to explain why the creative sector will be globally (but not equally) affected and what can we expect.

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.

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.