2. NATIONAL PERFORMANCE NETWORK presents: Doin’ It On the Road a general reference for artists interested in touring their work

3. Introductions Who we are: A network of 62 performing arts organizations called Partners representing 43 cities and 28 states throughout the United States Visual Artists Network (VAN) – 15 VAN Partners What we do: Support the creation and touring of performing and visual arts across the United States National Performance Network

4. Basics of Touring

5. A Few Industry Definitions

6. Presenter An organization which contracts with an artist to present that artist’s work to the public. The presenter provides the facility and technical support, promotes the event to the community, and pays the artist a fee.

7. Producer An individual/entity who supervises and controls the finances, creation and public presentation of a play, film, program or similar work. In some cases, artists/companies have an organization which produces their work; in other cases artists/companies contract with producers for this function.

8. Producing Company/Artist An entity that conceives and creates a work of art for which a presenter contracts.

9. Booking Agent An entity that represents and promotes Producing Companies/Artists to Presenters, arranges tours and negotiates contracts. For some artists the booking agent function happens within the company, sometimes it is an external entity to which the artist pays a fee and/or percentage of contracts.

10. Manager An advisor, confidant, counselor, organizer, industry “buffer,” cheerleader, or protector for the artist/company. A manager sees things from a different perspective from the artist (the big picture) and helps to devise a master plan that the artist can follow in order to achieve their goals.

11. Curator (performing arts) A presenter who holds an aesthetic vision for their organization and community and applies that vision to their selection of artistic work for a season or series.

12. Self-Presentation Artist/Company rents space, self-promotes work, is responsible for bringing in audience and receives box office income.

13. Commissioning Providing all or part of the financing of a new work, but limited only to that financing support or in-kind contributions. Commissioning is distinct from producing, managing or presenting the work. Commissioners are not entitled to financial return.

14. Why tour? Broaden audience base Connect to like-minded communities Extend the life of the work Confirmed income See the country, meet new people

15. Are you ready to tour? Finished work that has an audience at home Company members who are willing to travel Technical package / Tech Rider Promotional package / marketing materials Management/representation Networking: How do you approach presenters with your product? Social networks: Making the web work for you Research, research, research…

16. Relationship between your work at home and touring Portability of your completed work Understanding the audience you serve Connecting with similar markets/audiences in potential cities/sites across the U.S. The complete package…

17. What kinds of work tours? Work that has a local, regional support base is economically feasible knows its audience crosses disciplines/sectors Note: These are simply some recent presenting trends, not universal mandates

18. What they are looking for: How presenters identify work they are interested in booking

19. Kinds of Presenters Colleges and Universities Multi-Disciplinary Arts Centers Community Centers Festivals Municipal Performing Arts Centers Producing Dance/Theater Companies (other artists) Booking/Touring Houses Arts Councils And many more…

20. Learning about artists and their work Seeing work live Booking conferences Packets and media Rosters Web

21. Understanding the booking process Agents Self-representation Calendar/cycle of planning a season  Booking conferences  Grant deadlines  Presenting Seasons

22. Different approaches to presenting Peer presentation Partnering with diverse organizations Touring support structures Box Office Splits

23. Touring support structures Association of Performing Arts Presenters National Performance Network South Arts New England Presenters Mid Atlantic Arts Federation Western Arts Alliance Arts Midwest Alternate ROOTS National Dance Project National Theater Pilot

24. How to get booked: Tools for promotion Websites Social media Online work samples Media samples Press packets

25. After you get booked: Tools for touring

26. Tools for touring Presenter Responsibilities Artist Responsibilities Pricing your work Mutual understanding of presenter’s and artist’s financial realities Subsidies and financial resources Sample contract Insurance

27. Understanding each other: Artist responsibilities Presenter responsibilities

28. Pricing your work: Sample artist budget ARTIST FEES, 1-WEEK 5 Artists, 1 Tech Salaries for artists/tech 6 x $700 $4,200 Fringe benefit for artists/tech 6 x $140 $840 Transportation 6 x $350 $2,100 Lodging 6 x 7 nights x $75/night $3,150 Per diem 6 x 7 days x $40/day $1,680 Administrative Allowance $1,500 Artistic Director's Contingency $300 TOTAL FEE $13,770

29. Presenter expenses and revenues: Sample presenter budget EXPENSES Facility Costs  Rental $2,000  Insurance $100  Personnel Front of House $600 Backstage $1,200 Booth $1,500 Presenter (admin/misc.)$1,000 Box Office $2,000 Hospitality $500 Marketing  Advertising $5,000  Direct Mail $1,000  Web $100  Program/playbill $1,000 Equipment Rental $1,000 Artist Contract $13,770 TOTAL EXPENSES $30,770 REVENUES Box Office (400 seats @ $15.00 x 2 nights) $12,000 Ad Sales $1,000 Contributions and Grants $17,770 TOTAL REVENUES$30,770

30. Tools for touring Subsidies and resources Sample contract Insurance

31. On the road: Connecting with community Contextualization of your work for an audience What are your intentions, and to whom does your work speak? Deepening the experience: Community engagement activities

32. Other opportunities Commissioning Long-term residencies Artistic collaborations

33. Questions / Answers