Minutes from the BDAH Meeting on Friday 8th of March, 2013
This meeting was called by Ann McLean and was held at 6pm in the Board Room of the Judith Wright Centre of Contemporary Arts.
Attendance – Zaimon Vilmanis, Tiina Alinen (Chaired the meeting), Anja Ali – Haapala, Rachelle Hickson, Gabe Comerford, Mariana Paraizo, Liz Vilmanis (Recorded minutes of the meeting), Ann McLean
Item 1 – GRANT WRITING
Ann McLean is offering help for grant writing. It was asked what specific areas people were needing help with and budgeting was brought up as area of concern. Specifically – how does one make a sexy budget for an application? Another area raised requiring attention was applying for 2 grants – how do you tackle writing both applications? It was suggested for artists to also contact previously successful applicants and ask them for advice, to get what your being offered in kind written down so that you can submit it in your grant application. A current trend is obtaining partnerships and these often look good in an application. Regional is also a giant word in applications at the moment … Don’t forget the Gold Coast Arts Centre has rehearsal space also. If you’re working regionally also remember to include travel costs/accommodation. Consider what your investment is in the community – get a FAT/robust offer. Note: Ann will be back on the 23rd of March and taking appointments for assistance with grant writing.
Item 2 – TEACHING FEES
Still employers asking artists to teach for less than they are worth. This seems to be a big problem still and ways to address this problem for individuals were discussed. One option is to get savvy with communication with employers – let them know why are you charging what you’re charging. There was concern that we are being undercut by bigger companies who can afford to teach for less. Questions raised included what the current RAD teachers course fees are? Does it take two years to be able to take students through exams – $12,000? Is it true that QUT dancers can pay only $250 to get creditation? Ausdance Queensland is continuing to back up teachers with teaching rates. Suggested to look at relationship building with employers – give out flyers to educate teachers? Try to build on the price you originally get when you start out. Again it was raised that the problem with some teachers taking less is that it then undercuts the rest of the industry. What are the penalty rates for teaching – do you need to be on a contract to get penalty rates? Don’t forget the AIR – Artist In Residence with schools opportunity that was announced today.
Item 3 – PRICING FOR LIZ AND JOHN WORKSHOP
Ausdance Queensland are going to try and offer 10 places for the workshop at half price – this offer will be open to Ausdance Members. The capacity for the workshop is 25. The workshop can be catered to those attending and be as much hands on or not as participants want. Please remember that it can be tax deductible. The workshop is being promoted to QUT as well as interstate. The concerns raised in relation to attendance to the workshops included that it is being held at a busy time of year, that 4 full days is a long time to commit to especially when Liz and John are not well known here in Brisbane, and that it would be difficult to afford the workshop for those who would need to take time off of paid work to attend it. Are young dancers at a point in their careers to be interested in this type of workshop? Do people actually know who Liz and John are and what they do? It would be helpful to have a 1 page info sheet about what skills the participants could expect to get out of it. It was also raised that incentives to attend workshops could be useful – such as a per diem to attend the workshop like Critical Path offer with some of their workshops. Ausdance Queensland weren’t successful with gaining the funding that they applied for to assist people with attending the workshop, otherwise they would be able to offer more. Workshop worthwhile as one will gain the experience of understanding how to use new and existing skills to respond to other peoples work – it will be like gaining a toolkit for a professional artist. It is hoped that artists recognise that these types of workshops offering the opportunity to gain these types of skills are not regularly available. It was stressed that part of life as an artist requires investment into ones practice. It has been requested that there be more information provided about the process to expect within the workshops. It was suggested that the idea of employing ambassadors to promote workshops in the future could be useful.
Item 4 – DIFFERENCE WITH DANCE CHOREOLABS THIS YEAR
Ausdance Queensland aims to run 3 choreolabs for 3 days each this year. (Opportunity for 3 choreographers). Dancers will be asked to commit to being employed for 3 full days. The choreographer will work with one group of dancers. There will again be no demand of an outcome. The choreographer should be able to ask for as many dancers as they want (though this would obviously be capped due to funding restrictions to pay dancers). It could also be possible to apply for a choreolab with more than one choreographer. Funding available to participants will need to be capped. It is intended that there will be 3 separate choreolabs at 3 different times of year, not all happening at once. Winter will probably see the first choreolab. Yet to decide what dates these choreolabs will take place on and there will be a call out for expressions of interest. Need to find out who’s available and when and also when space will be available to run the choreolabs.
Item 5 – DANCE WEEK QUESTIONS
What happens with royalties for music? There will be no need to pay royalties but each choreographer must give a list of pieces of music and composers to Ann. The Judith Wright Centre has a blanket licence to cover performances.
(Ann had to leave the meeting at this point).
Would the Judith Wright Centre be more willing to provide tarkett for the Independent Showcase if participants volunteered to help roll it out and roll it up?
OTHER ITEMS DISCUSSED…
A suggestion was put forward to make a deal with larger organisations to gain access to the visiting artists that they are bringing to Brisbane. Could a deal be struck so that visiting artists are required to teach/contribute to the Independent sector when they are employed by the bigger companies? Perhaps workshop/class fees could be paid to the visiting artist for their contribution to the Independents? Would it be possible for Ann to send BDAH a group email to release who’s expected to come to town six months in advance?