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Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
Workshop 2 2 fei_behind_the_scenes_workshop-_programming
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Workshop 2 2 fei_behind_the_scenes_workshop-_programming

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  • The key to good artist relationships is trust and excellent working circumstances. Really major artists can get top fee anywhere and are not bothered about income. What they crave is time to create and the opportunity to do what they want with good people Have multi-year relationships. That way you can take your audience on a journey across the programme. Eg Mark Morris in Edinburgh from Dido and Aeneas to Behemoth (modern dance with no music attended by a large proportion of the music audience) Multi year relationships will mean that your key artists are also your advocates elsewhere in the artistic community ‘ come to Hue Festival - I have a great time there every year’ Who do you want and what do you want them to do – can you insist? Exclusivity of what the artist is performing in the UK, Europe, the world?
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    • 1. <ul><li>Behind the Scenes </li></ul><ul><li>at Festival Hue </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 2. <ul><li>Festival Programming </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 3. <ul><li>Vision </li></ul><ul><li>What type of festival is it? </li></ul><ul><li>Traditional or contemporary or mixture? </li></ul><ul><li>What resources do you have - physical, financial, cultural? </li></ul><ul><li>Who is your audience going to be – local or visiting? </li></ul><ul><li>Is it a free festival or charged? </li></ul><ul><li>If charged is it high price, or low price? </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 4. <ul><li>More Vision... </li></ul><ul><li>Audiences need clear signposts for what sort of festival it’s going to be, but... </li></ul><ul><li>Make sure name of festival does not restrict your vision. </li></ul><ul><li>Think carefully about the shape of your festival – you may have to live with it for a long time </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 5. <ul><li>Location </li></ul><ul><li>Is the festival in a city, town or village? </li></ul><ul><li>Urban or rural? </li></ul><ul><li>On a Greenfield site? </li></ul><ul><li>Multi-centred? </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 6. <ul><li>Duration </li></ul><ul><li>Annual or bi-annual, one off? </li></ul><ul><li>A day, a weekend, a week, ten days, two weeks, three weeks, a month? </li></ul><ul><li>Try and choose a shape and build it up rather than changing all the time but... </li></ul><ul><li>Don’t stick to a formula just because it has always been done that way. </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 7. <ul><li>Venues </li></ul><ul><li>Indoors or outdoors? </li></ul><ul><li>Permanent purpose built venues? </li></ul><ul><li>Temporarily created venues in special locations? </li></ul><ul><li>In the street? Site specific? </li></ul><ul><li>Ticketing – how dealt with across multiple venues </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 8. <ul><li>Content </li></ul><ul><li>Performing arts, visual arts, both </li></ul><ul><li>Single artform, multi-artform? Specialist or General? </li></ul><ul><li>Music, dance, drama, literature, painting, sculpture..... </li></ul><ul><li>Contemporary or traditional or a mixture? </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 9. <ul><li>More Content </li></ul><ul><li>Is it Curated or open access? This workshop we are talking mainly about curated festivals </li></ul><ul><li>Is it a presenting or a producing festival or a mixture? </li></ul><ul><li>Will it commissioning of new work </li></ul><ul><li>Is the content national or international? What is the role of local artists? </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 10. <ul><li>Themes </li></ul><ul><li>An overriding theme eg classical music or literature? </li></ul><ul><li>Specific themes – focusing on the works of one artist? </li></ul><ul><li>Multi-themed within an overall vision </li></ul><ul><li>No themes? </li></ul><ul><li>Strands and sub programmes – venues or times eg lunchtime concerts </li></ul><ul><li>m </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 11. <ul><li>More Themes </li></ul><ul><li>Avoid the over themed festival </li></ul><ul><li>Quality of performance matters above all. </li></ul><ul><li>Only a small number of your audience will follow you through a whole thematic journey </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 12. <ul><li>Programme Creation </li></ul><ul><li>The role of the festival director – a single vision </li></ul><ul><li>Knowledge of the artform, audience, artists and repertoire, venues and production </li></ul><ul><li>By invitation or approached </li></ul><ul><li>Artist led festivals </li></ul><ul><li>Duration of tenure – how often to change them 1-15 years </li></ul><ul><li>Programming teams – specialists under one single vision </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 13. <ul><li>Programme </li></ul><ul><li>Multi events at same time </li></ul><ul><li>Try not to duplicate within artforms so a play against a concert </li></ul><ul><li>Multi-events on the same day </li></ul><ul><li>Try to see that programme has enough meat in it for someone making a short visit over say a weekend </li></ul><ul><li>One event following another </li></ul><ul><li>Performance running times - Crucial for audiences and sponsors! </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 14. <ul><li>More Programming </li></ul><ul><li>Plan the festival you want to do, not the one you can afford. </li></ul><ul><li>Uniqueness of artist/location combination is as important as uniqueness of artist </li></ul><ul><li>Configure programme to balance between surefire successes and high risk premieres or ventures. </li></ul><ul><li>Make sure programme has 3 or four ‘unmissable milestones’ </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 15. <ul><li>Artists/Companies </li></ul><ul><li>Build relationships with artists by investing time in personal relationships </li></ul><ul><li>Turn up at their important performances: has an amazing effect </li></ul><ul><li>Any artist can be seduced </li></ul><ul><li>This will save money and give you the best chance of getting the artist to bring you their best ideas and also undertake yours </li></ul><ul><li>The best relationship with artists are not financially based </li></ul>British Council Vietnam Festival Workshop 10-13 June2010
    • 16. <ul><li>More on Artists relationships </li></ul><ul><li>The key to good artist relationships is trust and excellent working circumstances. </li></ul><ul><li>Have multi-year relationships. That way you can take your audience on a journey across the programme. </li></ul><ul><li>Your key artists are also your advocates elsewhere in the artistic community </li></ul><ul><li>‘ come to Hue Festival - I have a great time there every year’ </li></ul>British Council Vietnam Festival Workshop 10-13 June2010

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