Publicity/Promotion 

First Thursdays as a case study

- a monthly event – from an international initiative
- a collab of artists, business owners in a space -
”a big art party”
- started in Auckland by Cleo Barnett and group of like minded artists
- approached K Rd business association – contacted St Kevins arcade and got approval straight away -  based on success of other arts events in space
- linkage with other artists at arts events – had inspiration from established artists eg Peap Tarr, Misery
- these artists then acted as “links” and champions/mentors

- developed own marketing materials – on low budget – through contra/student/peer donations
- generated word of mouth networking
- used knowledge of corporate and local industries – did homework
- used personal connections to get artists and performers
- used K Rd business association to get contacts
- first event got 1000 + crowd

Learning points?
- be open minded and creative in terms of getting exposure
- use your personal links – the “six degrees of separation” principle
- make as many connections as you can
- Auckland is a nice environment for artists – people very accessible – are happy to give advice

Marketing yourself 

- social media – eg Facebook, Twitter, websites
- the internet is changing the way we communicate and spread news of events and ideas
- the more you inhabit these spaces, the more of a following you get
- then you get supporters who help you spread the word
- accept offers of help from talented people eg for newsletters
- interlink with other groups

- also don’t forget to take these connections off line and meet in person
- also grow the relationships with businesses etc – eg expanding First Thursdays to Verona Café
- when expanding  an initiative or collective– need to have conversations about how to keep it sustainable and within time/people resources

Twitter
- Much maligned, but used wisely can be useful social networking and collab tool
-follow people who provide info on your topic of interest  - ie they act as filters for finding articles of interest
- it can help to connect you to a group
- you can follow perfect strangers, one on one conversations – difference from Facebook
- can use to solve problems, form connections, make links for collaborations
- is very fast way to inform people/spread word (through followers retweeting) – is good way to build momentum before an event
- would be good for more of the artist community to use it
- a lot of local and international artists/musicians using it
- more of a real-time communication tool
- can also help to motivate an artist – becomes a virtual community
- as an artist – can control your own publicity – can use Twitter to give followers a “sense” of you. eg work in progress

- Tweetdeck – (google it) – use to find out what people are saying about you
- can search for your name, organisation
- can organise all your tweets into categories of interest

How to reach audience?
-and translate expressions of interest into actual attendance???
- must take online relationship into real world – need to remind people – between 3-7 exposures (print, online, txt, in person)
- no etiquette in terms of promises – do not assume a promise to attend/enthusiasm will translate into action – best to remind people

- how to deal with promotion fatigue? – get more help, more relationships – grow the networks. Trust in friend network to show up.
 - product, cost and location influence attendance and the promotion style

Producer perspective

Oryza as case study

- translation from grassroots/non profit to more commercial/viable model
- Oryza (Asian performing arts organisation) wanted to produce series of 10-minute plays
- need big sponsors – but then need track record – catch-22 - how to do this?
- for Oryza, this was first time anyone had tried to do in Asian performing arts in Auckland

- need robust structure – with business/strategic plan
- very tiring to keep up the energy – passion is one thing, need also resources in terms of money/time/capable people

- how to get around need for track record with funding?
- auspicing -  get ppl/organisations with track record to “adopt” the project – a growing trend overseas
- how to find these organisations?  maybe there should be an online resource – Oryza wants to become one of these auspicing organisations

- or could bring someone “established” onto the organisation or board

- there is actually funding out there – be prepared to think outside the square and look for organisations – open mind, access all sources
- there is a real interest in the “Asian story” and funders/policy makers/publishers are very interested in fostering this – therefore this is a time of opportunity

How to reach the Asian community – all sectors

- ?bilingual presentations and publicity – there are so few of these, so they stand out and pique interest
- find  nodes in each community
- touchstones/innovations eg involving local jewellery store in giveaways/design/promos
- get media sponsors – in line with your event – friendly journalists, business magazines – do research, always be aware
 eg Ponsonby News,
- maybe get media involved directly in event

As a theatre producer
– all we want to do is for people to come, and then to remember it – it should change people, they should have a great time out.
- as producers we consider ourselves to be a creative – we have a vision, which we put into practice  through making connections and driving projects

Business: how do you separate artist as artist and artist as business? 
- This needs to be addressed at some stage in any career.  Accounts, regular marketing, awareness of contracts/legal requirements/ intellectual property rights. How to do this?
- read books, find people you trust. There are courses that are funded – eg city council, guild-moderated.
- keywords for an arts organisation or artist – plan, delegate, create, be proactive. Review progress on regular basis.

Individual Emerging Artist - reflections

 - have genuine interest in people and what they’re doing – then opportunities will happen
- go out to events, don’t be scared to network with people
- be open and interested and enthusiastic
- established artists will often then offer to mentor – don’t be intimidated – get to know them – see what they have done – don’t focus on their fame/reputation. Approach them on a human, one on one level
 - remember they also have been where you are and want to give back to the community

Mentorship
- can be informal eg make contact at an event, ask them for coffee and take it from there
- more formal eg apprenticeships
- personal relationships eg friendship/outside interest/through friends
- make sure there is enough time/commitment on both sides
- different types of mentorship – from occasional advice to more intensive workshop
- if you don’t ask, you don’t receive
- deliver what you say you will, when you say you will, to justify your time

To get exposure
- don’t count yourself out – apply for things, put yourself forward
- have the courage to try it anyway
- have faith in yourself – your work may be better than you think it is – don’t apologise for your work – a little confidence goes a long way
- say yes to everything initially. once you get too many offers, then be more selective and make sure you have the time to achieve what you commit to
- accept advice – practice doing this – ability to accept advice is very attractive to would-be mentors and audience
- keep improving on your craft and be true to your practice and the reasons why you did this in the first place

Audience feedback
- do give advice and participate in forums – you are qualified to do this as an artist yourself
- time your advice – some times are better than others – and learn from someone else’s experience. If this is not a comfortable time, deflect or paraphrase until better time.
- look at all the aspects of production – seating, parking, venue, transport – the whole experience
 - use innovative ways to solicit comments – eg blackboard, postcards, art participation events
- contact lists – competitions, feedback forms
- when accepting criticism, separate yourself from the work – try not to take it personally
- consider it as fresh eyes on work, take the advice as pointer for future work
- it’s a compliment if someone takes the time to critique your work
- try and see your work from an observer/rational perspective
- Criticism is what will make you better
- remember it’s subjective – one person will love it, others will hate it – polarising art is good art

- to do look at your work from a diff perspecive - try changing job on project – wear a different hat and see what it feels like
- failure: don’t take it personally if there is a bad media review – you will feel like shit, but pick yourself up and move on.
- the fear of failure is natural – it proves you are still invested in your work. 
- it’s a compliment if people tell you it’s not that good – firstly – they cared enough to come, secondly, they thought it was worth telling you, and third, it’s good feedback for next time. Process the message. use it as impetus/info about your audience – feed into your process for making art – the “higher purpose”
- buzz when ppl connect to our work
- people know when something is genuine and connect to it
- it’s not a failure if one person doesn’t like it, because someone else will.

Artist – doing work vs appealing to mass audience:
- need to consider audience when making new work.  Each artist will have a different comfort level
- it comes down to being proactive, showing up, honouring commitments, trust and honesty. Don’t whinge that there are no opportunities – they are out there if you look. Go out and find them or create your own opportunities. Reassess regularly. Get allies.

Collaborations
- you will attract people if you are genuinely interested and open
- combo of putting yourself out there and approaching people, collabs will happen
- people will come to you if they see that you are trying to be the best you can
- trust is important in any relationship
- recognise what will work (and what won’t work), aim for win-win outcome
- the whole point is mutual benefit
- leave individual ego at door

Where to next for the Emerging Artists Forum
- to do this again? yes. Satellite Gallery a potential next venue. Different topics each time? Specific areas?  4 speakers. Rotating venues.

Next topics:
- approaching venues
- sponsorship
- training/courses
- promotion –  as visual artist/other
- represention – agents, guilds, intellectual property rights
- peer group debate/maintenance/critique
- building virtual and real communities

Will circulate minutes and ask for suggestions for speakers next time.

Internet Links:
Auckland City Council – James Beaumont "Beaumont, James" <James.Beaumont@aucklandcity.govt.nz>  - contact to get on mailing list for council events, workshops and funding deadlines.   Good contact for one-on-one advuce re Arts Alive and Creative Communities

Asia NZ Foundation:  http://www.asianz.org.nz/  - have a range of scholarships and funds whose criteria favour linking Asian and NZ artists/showcasing NZ work in Asian or Asian work in NZ

Chinese Poll Tax Heritage Trust
http://www.ethnicaffairs.govt.nz/oeawebsite.NSF/wpg_URL/Advisory-Services-Consultations-Chinese-Poll-Tax-Heritage-Trust?OpenDocument

The Big Idea http://www.thebigidea.co.nz/

Funding calculator      http://www.mch.govt.nz/funding-guide/