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This article profiles CornerHouse, an organisation that has played a key role in facilitating the emergence and development of a large number of mental health services and self‐help groups in West Surrey. CornerHouse takes a community development approach, facilitating and empowering small local mental health groups, and building an active and sustainable local mental health community.

Creative arts activities can be immensely valuable in enabling those of us living with or recovering from mental distress to express and interpret our experience, rebuild confidence and develop new skills. There is now a wealth of innovative arts and mental health projects around to inspire us, and a number of them profile their activities below.

This study explores the relationship between work stress, coping resources, and mental health. Utilizing data collected from a unique sample of professional African Americans (N=167), the study distinguishes between five forms of work stress (perceived discrimination, token stress, role overload, role conflict, and scrutiny) and several indicators of mental health (depression, anxiety, somaticism). The results show that token stress and role overload are more consistent predictors of mental health than any other form of work stress among Black elites. In terms of coping effectiveness, confrontation (e.g., seeking out someone who will listen) appears to be a beneficial strategy for handling work pressures. Forbearance (e.g., hiding one's feelings) and avoidance (e.g., leaving a situation) strategies are related to poor mental health. There is additional evidence however, that confrontational styles of coping are not always conducive during times of elevated work stress, especially when Black elites are faced with token stress. Optimistic comparisons, on the other hand, are useful coping resources among those elites who are dealing with high token stress and role overload.

One of the nine thought provoking essays assembled by Peter Vergo in the recently published The New Museology (Reaktan Books, ISBN 0 948 462 035 hardback, ISBN 0 948 462 043 paperback) is “The Quality of Visitors' Experiences in Art Museums” in which Philip Wright discusses the lack of awareness among museum personnel of what exactly their institutions are doing, and indeed should do, in a period when “films, television, video and pop access photography have inevitably altered, if not actually undermined the hierarchy of images that museums aim to display”. Few curators have had professional surveys of their audience undertaken, some have dismissed colleagues' changes as pandering to commercialisation, and invest in sophisticated technology and displays in such a way as to distract from the integrity of the objects in their care.

This study explores what it means to be a mission-driven arts organisation (MDAO) in the UK. Drawing on literature relating to artistic risk and rupture, mission and vision, and arts participation, the purpose of this paper is to shed light on how Slung Low, a theatre organisation with a core staff of five, creates large and complex initiatives and seeks to make a difference to its local community.

Using a case study approach, this interpretive study makes use of qualitative data to offer context-specific knowledge about how MDAOs create new initiatives including: interviews with members of the Slung Low team; attendance at company meetings; analysis of internal organisational documents, company website and artistic director’s blog; and articles about Slung Low from the local, national and theatre industry press. Data was gathered through a research collaboration with Slung Low which is supported by Paul Hamlyn Foundation.

The results offer fresh insight into how MDAOs take a positive approach to rupture and rapid change. The study finds that by embracing risk and committing to an ambitious and provocative mission, small-scale arts organisations can achieve artistic, cultural and social objectives which far exceed their size.

This paper offers an organisational perspective on the research questions and so participants were not interviewed on this occasion. However, the participant view will be the subject of further research with Slung Low.

This research paper provides insight into one of the UK’s most innovative theatre companies during a period of monumental change, and advances knowledge on mission-driven organisations by offering reflections on what it means to be an arts organisation which places rupture, risk and usefulness at the heart of its mission.