Tag: business

No matter if you have your own shows or are auditioning to be part of other productions, there will be times when people ask you for promo material. These are the things you should have ready to send at any given time.

1. Your CV (Curriculum Vitae) or vita is a list of your education, your employment, and the freelance jobs you did. If it does not include the education part, some people call it references. If someone asks for an artist vita, include only the things relevant to dance, for a complete vita send one that provides for everything. The CV usually has one portrait picture included somewhere at the top.
2. A Bio or Biography is a text that tells people who you are. This might be used to introduce you on a website or program booklet or anywhere else where people would be interested in who you are. Make it interesting to read and full of relevant things.
3. When asked for your data, you should be able to provide a one-page document that contains your name, birth date, country of origin, current residence, phone number, email address, passport number, height, weight, clothing, and shoe sizes. If your numbers are good on social media, include views and followers. Your popularity can influence a decision, especially when you audition for shows, as all of your fans are potential customers.
4. High-quality photographs. Sometimes people decide on your looks. You need a good selection of photos to send along. In auditions, often, the picture is on top of the other papers when handed out to directors or choreographers. You don’t want to waste that first impression. I recommend having three different good portraits and three or more appealing action shots. It is an advantage if you have both from different distances (face only, including shoulders, half body, full body). If possible, make sure they align with your artist identity.
5. Videos. Potential customers want to see you dance. You should have at least one full show and a demo reel with multiple appearances online, that you can send if someone asks. You can either host them on your own website or pick a hoster like Youtube or Vimeo.
6. Your online presence. People will check your homepage. So be sure it is up-to-date.
7. A scan of your passport. This is not part of your regular promo material, but as soon as you are booked for a job abroad, most agencies will ask for a copy of the passport to arrange flights and hotels.

Prepare everything in pdf format and have it ready at any time. Response time is crucial. You will be fast when you have everything prepared to pull into an email and hit send. That gives you an edge over the competition that has to start looking for everything first.

Having enough shows to dance is one of the central points of setting up your dance business when you choose performances as part of your portfolio. There are two general approaches to it: having one or more agents taking care of it or doing it yourself. Both ways have their advantages that we will look into right now.

Working with an agent or agency.

The two main benefits of having an agent are that you can focus on your dance and shows without getting distracted and that the agent probably has a much bigger network of potential customers than you. These two points alone are reason enough for most artists to work with an agent. In fact, I recommend working with an agent if you can. When making performances a central part of your dance business, you should always have new shows and skills ready. It helps when you can put the hours you would need for booking into your abilities and appearances.

The downsides of the work with an agent are that a part of the fee that the customer pays goes to the agent and that in some cases, you don’t have complete control about how your act is presented. Both things can be countered. The fee thing by putting in the contract with the agency that their fee goes on top of yours and the presentation issue by providing high-quality material on your own. This means you already have good photos, a visually pleasing description of your act, a trailer, and a fully recorded show available. The agent will then work with what you provide.

It is crucial to set up a contract with your agency that regulates precisely how the partnership works, so both parties can benefit from it. Here are the points to cover:

• What do you have to provide?
• What does the agent do to acquire shows for you? Does he only sell your existing shows or also send you to auditions for other productions? Does the agency provide additional advertising material? If yes, do you have the last word regarding the content?
• How much is the agent’s fee, and is it on top or part of your payment?
• Can you book shows on your own or with another agent? An exclusive contract would mean that all the shows you dance have to be booked via that agency. A non-exclusive agreement allows you to do work without that agency, as well. I recommend not to sign an exclusive deal, except the agent guarantees a volume of work that is sufficient for you, as part of the written contract.
• Reaction times. Both parties need to get a quick response from the other one. You need to confirm availability or fees quickly. The agent needs to bring all the necessary info for the shows and should take care of customer questions. More often than not, he will need answers from you for that.
• Payment conditions. Do you invoice the customer, and the agent invoices you for their fee, or does he invoice the customer, and you invoice the agent? In both cases, you should be fast and know how to write a proper invoice.

One thing about good manners: when you are booked via an agency, you also represent them to a certain degree. Be professional and don’t hand out private business cards. When you are there via an agency, they usually provide business cards that you can hand out to people who are looking for a show. Even if your contract is non-exclusive, it is not ok to bypass the agency with follow up jobs. If they don’t provide cards, ask them what contact you should give away if asked.

Doing it on your own.

The advantage of being a self-booker is total control. But this control also comes with sole responsibility. You will keep all the money, but if you sweat aspects of the business, your show numbers will be low.

You should set up a website, promo material that you can send out, be fast to reply to customer inquiries, and be good with networking. Obviously, you don’t need a contract with yourself, but you think about having contracts with your customers. It is not necessary in every case, but when there are disagreements, a contract helps to solve them fast.

When you work without an agent, it is also easier to experiment with the price of your shows as you can change it on the fly to cope with the customer situation.

Here are the essential points to have in mind:

• Be reachable. Reply to your emails every workday and answer your phone. Not responding fast enough might equal a missed show opportunity.
• Be able to send promo material fast. This means you have it collected in a folder that you can send as an email attachment, and you also have it online where you only need to send a link. Be able to send that link from your smartphone for faster response time.
• If you dance together with others, make it clear that they need to be able to confirm availability fast as well. You can not confirm a show before you know you have the dancers available.
• Be proactive, approach potential customers with show offers that fit their needs.
• Do your homework. When you approach customers, research what they are doing and on what scale. A small society will have another budget than a multi-million dollar company. Don’t be the guy who knows nothing about the people he talks to.
• Know your worth. Your show has a price. Be sure about the starting point for your negotiations before picking up the phone or writing an email. You can adapt along the way. Talk about the price early in your negotiations. Don’t fix details, book hotels, or flights before you agreed on your fee. It’s a negotiation tactic to agree on many parts, so you are already in the mood of saying yes, and save the weak spot for the end. Don’t fall into that trap, especially when you are not used to negotiations.  
• Know your needs. Customers need to know what are the prerequisites for your show. How many space do you need? Floor conditions? How many people are traveling and performing? Do you bring the sound digital or a CD? Do you need separate dressing rooms, or is one enough? Wam Up space? If you are far away from home, consider hotel and food. Travel costs, if you go by car. Depending on your show, not everything might be applicable, or there might be additional points. You have to know those.

My general recommendation is to go with an agent who offers you a non-exclusive deal. It saves you so much time that you can invest in honing your craft, which will ultimately keep on top of your game. The non-exclusive agreement allows you to join a dance company that books their own gigs and also take show requests that come directly to you.

Following up on our general marketing introduction, we will take a closer look at our goals, strategies, and tactics for online marketing. The starting point is to know the business you run. The set-up and income streams you have, define what makes the most sense to promote and how to measure if it works or Nah.

Work Fields and Reasonable Goals

Teachers want to have more people in their classes or the chance to price the classes higher. Another desirable point would be to teach workshops at events or studios.

Performers want their followers to join as many shows as possible or buy media that features them.

Competitors want to grow their name to receive as many invitations and potentially paid battle gigs (those are not common anymore).

All these different work fields ask for different things that we want to achieve.

The Teacher should focus on catering to an audience that is close enough to the place where he works and incentivizes them to show up in the classes. However, if the goal is to teach a lot in workshops abroad, it makes sense to focus on people that live further away as well.

The Performer usually has a broader geographic targeting as companies and crews travel internationally. But having your biggest audience in South America, when you perform in Europe does not make to much sense.

There is, again, no silver bullet. You already know a lot about your business and your Artist Identity. Use this knowledge to think about what makes sense to promote. Promote the activities that you excel at and that make you money.

What to aim for? 

Measuring what we do is an essential thing in the whole process. Because from these insights, we can decide how to improve in our marketing process or when it makes sense to stop something.

Most people and companies start with a goal that focuses on followers or views, without recognizing that this approach only makes sense in very few scenarios.

Reach is the right metric if you want people to know your brand (that’s why it is the right metric for brand marketing). It makes sense when you want to land a sponsorship or when you are performing with different companies a lot (as they might consider your followership as potential viewers). It is also the one metric that everybody understands. That is the reason why it is so prominent, even if it makes no sense most of the time. 

When you are a teacher, it is not enough that people know you. Reach alone, does nothing for you. You need people to take action and show up to your class. You measure this in the percentage of people that come from your social media channels to your classes. We call it the conversion rate. The conversion rate is a much better metric in cases when people need to do something to make you succeed.

There are many more metrics that we can look at, but in most cases, it boils down to one of the two above. 

We’ll talk about how to either approximate (which is often enough) or precisely measure those two next week.

For today ask yourself: What is it that you need? High reach or a high conversion rate?