 August is a pivotal month in the performing arts world. Summer festivals are still in full swing, and organizations with traditional September-June seasons are preparing for their fall launches. Meanwhile, many people are squeezing in last-minute summer vacations. Another key focus in August is gearing up for the busy booking conference season. In previous articles, I discussed navigating conference season and preparing for showcases—crucial tasks for agents, managers, and self-represented artists booking performances. This time, let's explore what this season is like for presenting organizations—the talent buyers—and what their experience entails both on the road at conferences and at their home venues. The Double Vision of Presenters Working in the professional performing arts market, particularly in booking, touring, and presenting, requires a dual focus: managing logistics for the current season while engaging in the sales process for future seasons. This industry operates on a long trajectory, with presenters booking shows for seasons 1-1.5 years in advance. By this time of year, most shows for the upcoming season (Fall-Spring) are already booked, marketing materials are printed, and season tickets are on sale. Presenters are now focused on the next season, juggling this alongside their ongoing responsibilities. A Note for Artists For emerging artists, this timeline can be frustrating. You’re eager to perform and start earning, but the reality is that this sector requires patience and persistence. It often takes three or more years to get established, build recognition, and secure bookings at venues. Remember, this isn't a reflection of your talent but the nature of the industry. Prepping for Conference Season as a Presenter For presenting venues, preparation for conference season involves:
During the Conferences Presenters often develop long-term relationships with agents and artists through these conferences. They visit exhibit halls, meet with agencies, and attend showcases to see artists perform live. This time can be demanding, filled with back-to-back meetings, late-night showcases, and professional development sessions, all while trying to catch some sleep. Repeated encounters are common as presenters attend multiple regional conferences, which fosters networking and collaboration. By the end of conference season in January, at APAP (one of the largest conference), many deals are finalized. Presenters often rely on recommendations from colleagues. A positive experience with an artist can lead to multiple bookings across venues, sometimes through "block booking," where presenters coordinate to share tour costs, increasing the feasibility of an artist’s tour. Post-Conference Decisions Back home, presenters may consult with board members, executives, and other departments such as marketing and development before finalizing bookings. This collaborative decision-making process helps ensure that artistic and financial goals align with the overall vision for the season. Creating Great Seasons are a Collective Effort Conference season is a pivotal and demanding time for performing arts presenters. It calls for careful planning, strong relationship-building, and a clear grasp of both artistic vision and audience needs. By understanding the timeline, process, and patience involved, presenters, agents, and artists can better collaborate to navigate the complexities of the industry. Delivering memorable arts and culture experiences each season is a collective effort—one that begins anew every August with the start of conference season! Cheri Jamison is an Arts Consultant with over 13 years of experience in arts and nonprofit management. Cheri Jamison Consulting LLC focuses on strengthening organizations through capacity-building, executive coaching, board training, and professional development. www.CheriJamison.com
Streamlining Success: How Systematizing Operations Leads to Financial Stability in Arts Nonprofits7/11/2024
 In the vibrant and often unpredictable world of arts nonprofits, achieving financial stability can feel like a herculean task. Leaders are continually balancing creative aspirations with fiscal realities, a dance that requires both vision and pragmatism. One of the most effective strategies for securing financial health is focusing on operations and systematizing organizational processes. Here’s how this approach can transform your arts nonprofit into a model of efficiency and financial resilience. The Foundation of Stability: Why Operations Matter At the heart of any successful organization lies a robust operational framework. For arts nonprofits, which juggle multiple projects, stakeholders, and funding sources, having streamlined operations ensures that every aspect of the organization runs smoothly and efficiently. This foundation is critical for several reasons: 1. Consistency in Execution: Systematized operations mean that every task, from fundraising to event planning, follows a set protocol. This consistency reduces errors, increases efficiency, and ensures high-quality outcomes. While I know this sounds boring to creative minds, in my experience, it actually allows for more creativity. Having solid systems and organizational framework makes people feel safer and frees up energy to take creative risks in the appropriate channels, like onstage! 2. Resource Optimization: Well-defined systems allow for optimal use of resources, both human and financial. When staff know exactly what steps to follow, time is saved, and efforts are focused on mission-critical activities rather than on figuring out processes. 3. Scalability: As your organization grows, scalable systems are essential. Standardized procedures make it easier to onboard new team members and expand programs without sacrificing quality or efficiency. When it comes to scalability, it helps to think about having “double vision,” keeping an eye on your needs for today, but also the future. Key Areas for Systematization To reap the benefits of systematized operations, focus on these key areas: 1. Financial Management: Develop clear financial policies and procedures. Implementing a robust accounting system ensures accurate tracking of income and expenses, facilitating better budgeting and financial planning. Regular financial reporting and analysis help identify trends and areas for improvement, allowing for proactive management of funds. 2. Fundraising and Development: Create a standardized donor management system. A comprehensive CRM can track donor interactions, manage communications, and streamline fundraising campaigns. Your database tracks your relationships and your relationships are the lifeblood of your organization. Systematizing grant applications and reporting ensures consistency and efficiency, increasing the likelihood of securing funding. Funders want to see that you are responsible and will steward the resources they give you well. 3. Program Delivery: Establish detailed project management frameworks for each program. These should include timelines, roles, and responsibilities, ensuring that all team members are aligned and projects are delivered on time and within budget. Make sure tracking metrics are included in the framework. You’ll thank yourself for this later when you’re writing grant applications to keep those programs funded! 4. Human Resources: Implement standardized hiring, onboarding, and training processes. Clear job descriptions and performance metrics help in recruiting the right talent and fostering a productive work environment. Regular performance reviews and professional development opportunities keep staff engaged and motivated. It’s easy to think in a small organization that HR practices don’t matter, but they actually matter even more. The Financial Payoff Focusing on operations and systematization doesn’t just make your nonprofit more efficient; it also leads directly to financial stability: 1. Cost Savings: Efficient operations reduce waste and redundancy, saving money. For instance, streamlined procurement processes can lower costs, while efficient project management minimizes budget overruns. 2. Increased Funding: Donors and grantmakers are more likely to support organizations that demonstrate sound management and operational efficiency. Transparency and professionalism in operations build trust and credibility. 3. Sustainability: Financial stability is about more than just balancing the books; it’s about building a sustainable future. Systematized operations free up time, resources, and unnecessary mental worry, allowing leadership to focus on strategic planning and long-term growth. Taking the First Steps If your arts nonprofit hasn’t yet prioritized operations and systematization, now is the time to start. Begin with a thorough assessment of your current processes, identify areas for improvement, and develop a plan to implement standardized systems. Engage your team in this process to ensure buy-in and successful adoption. Remember, the goal is not to stifle creativity but to create a stable foundation that supports and enhances your artistic vision. With streamlined operations, your arts nonprofit can achieve greater financial stability, allowing you to focus on what you do best: bringing the transformative power of the arts to your community! Another first step you can take is getting free support in assessing and streamlining your organization's operations: Schedule a free consultation with me today! Cheri Jamison is an Arts Consultant with over 13 years of experience in arts and nonprofit management. Cheri Jamison Consulting LLC focuses on strengthening organizations through capacity-building, executive coaching, board training, and professional development. www.CheriJamison.com
 Recently, I was on a panel with other music industry professionals about a topic we don’t typically talk about, but affects us all as creatives: Capitalism.
Capitalism and economics shape our world, influencing our goals, mindsets, and environments. This raises a crucial question: are we pursuing our own dreams, or simply chasing someone else’s? In this article I summarize the deep conversation we had about capitalism: what it is, how it shapes the music industry, and most importantly, how creatives can take steps towards empowerment vs. victimhood. Understanding Capitalism When I was invited to speak on this panel, I spent several hours educating myself on capitalism, starting with this short explainer video. Capitalism, fundamentally, is an economic system where private individuals or businesses own capital goods. The production of goods and services is based on supply and demand in the general market. Because of the power structures inherent in the system, it can lead to exploitation and inequality. Many of the theories that shape economics today were first developed in the 1850s and reinforced in the economics textbooks of the 1960s. These theories have many inherent flaws that do not take into account human thriving or ecological sustainability and have led to an outsized focus on GDP (gross domestic product) or income as the primary measure of success. Shaping the Music Industry In the music industry, this translates into the commodification of music, where artistic creations are treated as products to be bought, sold, and traded (or a service, if performing live). This economic framework significantly influences how music is produced, distributed, and consumed. To further complicate things, the music ecosystem includes various interdependent entities: artists, management teams, venues, promoters, labels, and support services, each with different business models focusing on specific revenue streams like ticket sales, alcohol sales, guaranteed artist fees, merchandise splits, and intellectual property/royalties. Challenges for Artists As an artist, you probably didn’t opt to take Econ 101 in school. Artists often lack formal education in economics or business, and there's a myth that talent alone guarantees success. However, independent artists increasingly run their careers like businesses. According to MIDia Research, “95% of artists are what we call ‘artist direct’, i.e., artists who release music independently.” The study goes on to say, “Many of the factors and metrics that underpin success are embroiled in the vested interests of the music industry machine and rarely set in the context of artist's own goals.” In other words, we’re letting capitalism unconsciously define what success means and therefore going after goals and dreams that aren’t actually our own. Algorithms on social media platforms now dictate how creators reach their audience and if you don't play their game, you seemingly lose to competitors who will. This is an example of a multipolar trap, "when individuals have an incentive to act in ways that are beneficial to them in the short term, but detrimental to the group in the long term." Privilege and Oppression Kyleen King, a panelist and touring musician now studying social work, views capitalism as a system of privilege and oppression. Those with the most capital (money) hold the most power, while artists, as workers, often face exploitation. Mont Chris Hubbard, Secretary of the American Federation of Musicians (AFM) Local 99, emphasized how unions can support and protect workers from these imbalances. High Competition and Self-Blame The principle of supply and demand makes the music industry highly competitive. Limited jobs and many aspiring artists create intense competition and a challenge to cut through the noise. Media portrayals of overnight success and starving artist stereotypes contribute to the idea that "whoever wins must, by default, be the best," which as systems think Daniel Kim writes, is an "implicit assumption of the competitive model." If one doesn't achieve commercial success, then capitalism (characterized by a win-lose philosophy) makes us think it’s because of a lack of talent or effort. This mindset has become deeply embedded in our collective psyche, especially in the West. Economic systems thinkers such as Donnella Meadows talk about success to the successful archetype, where “success can be determined by structural forces and initial chance, as much as by innate ability or talent.” In other words, it’s a cycle where the winner of a competition is given the means to continue winning, leading to further inequities. The rich get richer and the poor get poorer, etc. We think we're doing something wrong or there's something inherently wrong with us, but there can also be a much more complex system at play that truly has nothing to do with us personally. We blame ourselves as "not talented enough to make it," or feel rejected by the world when we struggle to find a market for our artistry. Because of the underlying capitalist narrative we've all been unconsciously conditioned to believe in, it’s just easier to feel victimized or just stuck in frustration. At the end of the day, most of us creatives are just trying to figure out how to stay connected to this thing we love (our art/music) and also pay our bills. So, what can we do? Steps Toward Empowerment 1. Be Kind To Yourself. Artists are by nature, sensitive. Our sensitivity helps us see and feel in the world in a different way, which helps us create and express our artistry. Be gentle and kind to yourself as best you can, knowing that attempting to put your artistry out there in a capitalist environment can feel harsh and antithetical to your original intentions of becoming an artist. It's easy to be swept up in other people's agendas, hurt one's ego, or destroy your self-confidence. If that happened to you, be kind to yourself and come back to your own authentic path, however you define that. 2. Educate Yourself on Economics & Business. If you want to keep pursuing an artistic career or business, understanding the economic forces at play can empower you to make informed decisions. Knowledge of contracts, revenue models, and market trends can help you navigate the industry more effectively, ensuring you are not taken advantage of and can advocate for fair compensation. As I shared during the panel, asking yourself the deep questions and getting clear on what you want is a great place to start. 3. Embrace Independence. The digital age has empowered artists to bypass traditional gatekeepers. Embracing independent production, distribution and self-representation allows artists to maintain creative control and receive a larger share of the profits. Platforms like Bandcamp and direct-to-fan sales models can be viable alternatives to traditional label deals. 4. Build a Supportive Community. Community support is crucial. By building networks of like-minded creatives, artists can share resources, collaborate, and support each other personally and professionally. This collective approach can amplify voices that might otherwise be marginalized and create a more equitable industry landscape. 5. Advocate for Change. Use your platform to advocate for industry-wide changes. Pushing for fairer compensation models, transparency, and support for independent artists can drive systemic changes. Engaging with industry organizations, joining a union, and participating in advocacy groups can amplify these efforts. The discussion on capitalism and the music industry is a complex but necessary conversation. It has inspired me to explore more regenerative economic models. What would a more artist-centered and equitable music ecosystem look like? Let’s keep the conversation going. Listen to the full “Music & Capitalism” conversation here (some language NSFW). *** Cheri Jamison is an Arts Consultant with over 13 years of experience in the arts and nonprofits. Cheri Jamison Consulting LLC focuses on strengthening organizations through capacity-building, executive coaching, board training, and professional development. www.CheriJamison.com  Why am I passionate about mental health? You could say that it's in my DNA…. My mom is a licensed Marriage Family Therapist and my dad was a professional musician. I grew up with a keen interest in people and artistry in all forms that seeks to express the human experience. I earned college degrees in both music and psychology. I've continually balanced these two aspects of my personal heritage throughout my life, informed by my own pursuit of a creative career as well as those around me. Of course, part of my passion stems from my own experience as a professional singer. I’ve personally experienced the challenges of being a creative in a highly competitive field: the ups and downs of gigging, dealing with rejection, navigating my own perfectionism, and managing my own expectations of what a career in the arts looks like… all while trying to protect the spark of creative expression alive in me. I've discussed losing that spark of joy and the journey to reclaim it. I’ve also seen my loved ones challenged. My father was a professional musician and educator– both successful and respected in his own right. He was a private man and kept his physical, mental, and financial struggles a secret from everyone, including those of us within his family. We only found out about the physical illness that led to his passing when it was at Stage 5, much too late to do anything except keep him comfortable. In dealing with my father’s death and financial affairs, I learned a poignant lesson that the stigma of asking for help (of any kind) still exists and we must pay better attention. That experience further fueled my desire to support a greater quality of life and working conditions for creatives. I’m deeply passionate about mental health in the creative industries, and have actively promoted it in my community:
Like I said in a previous blog article, navigating a creative career can be quite emotional, yet there is little to no training on healthy emotional resilience. We’re often told the industry is hard and unfair, necessitating “thick skin,” which often leads to unhealthy coping mechanisms and outcomes. However, this issue is not solely attributed to personal training, fortitude, or persistence (in other words, this is not a personal failing of creatives). Research is beginning to show significant systemic challenges with the industry that impact musicians' mental health:
More frequently, I’m hearing stories and reading articles about artists not making any money on tour or taking a loss. Inflation has been one major reason, but also the long standing industry practice of paying everyone else before the artist. I have witnessed this firsthand from when I was VP of Operations for a performing arts booking agency and did tour budgeting and reconciliation, before the pandemic. Since 2020, it’s become even more challenging to undertake a financially viable tour. Not only is this frustrating for all involved, but it can take a toll on one’s mental health and family relationships. At the Music Policy Forum in Boise this past December (2023), one of the most powerful messages I took away from the whole conference came from Aaron Myers – musician and Executive Director, Washington DC Commission on Arts and Humanities. He powerfully described the incredible emotional high of performing for thousands of cheering fans connecting with our shared humanity, then coming back home to a silent apartment and maybe still being broke. Watch Aaron’s clip here describing the artist experience. It’s no wonder that artists’ mental health is suffering when you seemingly achieve your career goals, yet the reality is very different from what you expected. Backline.care, a nonprofit that connects music industry professionals and their families with mental health and wellness resources, shares shocking statistics as well:
All of this speaks to the ongoing need for advocacy for creatives and creative businesses – supporting greater funding, access to health care (including mental health care), reducing the stigma around mental health by continuing to normalize it, and sharing the resources that are already available (often free or low-cost), such as the free support groups with Backline, MusiCares, and the Music Industry Therapist Collective. It’s okay not to be okay. Know the signs (see infographic below). Seek out support. Your mental health is important. During this Mental Health Awareness Month, check in with yourself and your loved ones, too!  Anxiety/Depression graphic credit: thewrightinitiative.com
 This article was collaboratively written by Cheri Jamison Consulting and ASYMM Digital, a digital marketing agency for arts and entertainment organizations. In the realm of arts marketing, the landscape is as diverse as the art forms it represents. From captivating campaigns to digital dominance, the strategies available to arts leaders are vast and varied.
Understanding the nuances of these approaches can be pivotal in crafting effective marketing messages and maximizing your marketing dollars. Here are a few ways arts organizations can reach their audiences: 1. Campaigns: Crafting compelling campaigns is about storytelling. Whether it's a thematic approach to a season's programming or a spotlight on a particular artist, campaigns create narratives that resonate with audiences, drawing them into the world of your organization. 2. Direct Mail: Despite the digital age, direct mail still holds its ground, especially for reaching older demographics. Postcards, brochures, and newsletters can provide a tangible connection to your audience, serving as reminders or invitations to upcoming events. 3. Digital: In today's digital age, online presence is paramount. Social media platforms, email newsletters, and website optimization are essential tools for engaging with audiences, driving traffic, and promoting events. Now, let's delve into the questions you should ask yourself to maximize the impact of your marketing efforts: What are you trying to achieve? Define your objectives clearly, whether it's increasing subscribers, boosting ticket sales, or driving website traffic. Prioritize or choose one thing; sometimes multiple goals cannot be achieved within one effort and may require separate initiatives and budget. How will you measure success? Establish benchmarks and track progress meticulously. For example, if you typically only see ~1,000 site visitors a month; consider what kind of lift would be typical versus ideal. (“Lift” refers to the additional likelihood that consumers will make a purchase after receiving your ad versus those that didn't receive it.) Be sure to also note where success typically comes from, like whether ticket sales occur more online versus at the box office, so that you spot an increase easily. Whether it's monitoring subscriber growth, ticket sales, or website analytics, having quantifiable metrics ensures you can assess the impact of your efforts accurately. Who are you trying to reach with your marketing? Understanding your audience demographics and behaviors is crucial in crafting targeted campaigns. Tailor your messaging and timing to different audience segments: existing audience, lapsed patrons, and the ever-desired “new to file” audience members.
What do I want to learn? Continuously evaluate and adapt your strategies based on insights gained. Experiment with different mediums and techniques, and be open to learning from both successes and failures. For example, if your organization has historically invested in traditional media such as direct mail, brochures, newspaper ads, or broadcast advertising, consider adding a QR or promo code to these efforts to measure impact/redemption to test if these mediums are still valuable. So, when does it make sense to bring in a marketing professional? Knowledge/Experience: A seasoned marketing professional brings expertise and insights that can elevate your strategies and campaigns. Look for a marketing professional with similar clientele to your organization. This is useful for benchmarking, industry trends and learnings that can be applied to your marketing efforts. Resources (technology and staff): Investing in the right tools and personnel can streamline your marketing efforts and ensure efficient execution. Consider onboarding marketing automation, social listening, hiring professionals experienced in media buying or licensing ad buying platforms. Budget: You’ve heard the phrase, “You’ve gotta spend money to make money.” Well, this is where that comes into play. While hiring a marketing professional represents a financial commitment, the returns in terms of audience engagement and potential revenue generation can often justify the expense. If you’ve never run paid advertising before, be sure to set clear goals - such as ROAS (Return on Ad Spend) or CPA (Cost Per Action) - to measure success and determine value in the investment. Consult with a marketing professional if the budget you have set aside is enough to “move the needle” and if you’re best set up for success by running the ads on your own vs. working with a marketing agency. Goals: If your organization has ambitious growth targets or complex marketing objectives, the guidance of a marketing professional can be invaluable. Marketing consultants or agencies can often provide a fresh perspective and help “see through the trees” to assist with goal setting at a measurable level. You can work collaboratively with a marketing professional by bringing organizational goals and sales figures to the table and align them with marketing strategies to find which goals make the most sense. Marketing is a key aspect of any business. Arts and entertainment organizations can benefit from engaging content strategy and ongoing communication that draws patrons in and keeps them engaged. It’s a continuous effort of audience-building with smart strategies and a commitment to continuous improvement. By asking the right questions and leveraging the expertise of marketing professionals when needed, arts leaders can amplify their impact and cultivate thriving audiences for their organizations. *** ASYMM Digital is a full-funnel, digital-first marketing agency that combines forward-thinking strategy and advanced technology to drive impactful results for arts and entertainment organizations. ASYMM boasts 25 years+ of digital marketing experience with 16 dedicated to the arts. www.asymmdigital.com Cheri Jamison is an Arts Consultant with over 12 years of experience in the arts and nonprofits. Cultivating a non-judgmental, solution-oriented environment, Cheri meets her clients wherever they’re at with their business or creative career. The focus of Cheri Jamison Consulting LLC is strengthening organizations from the inside out through capacity-building, executive coaching, board training, and professional development. www.CheriJamison.com  Showcases make a difference to everyone who participates in the professional performing arts sector. Whether you’re a self-represented artist, agent, manager, presenter, or arts service organization that puts on conferences, live showcases (both juried and independent) are a key component to how business happens. If an artist or group is “Tour Ready,” showcases are a strategic investment and leveraged approach to increase your chance of booking work and touring. If your application to showcase is accepted, you have the opportunity to present your talent in front of a targeted audience, including industry professionals, presenters (usually the talent buyers), and decision-makers. But you must be prepared for this make-or-break chance financially, organizationally, and artistically. Let's explore the significance of showcases and the steps to make the most of this valuable platform. What are Showcases and Why are They Important? There are two main kinds of showcases: juried and independent. Juried showcases are curated performances that provide a platform for performing artists to exhibit their talents in front of a targeted audience of presenters, promoters, and other talent-buyers… in other words, people who hire artists! Think of a super professionally produced talent show where each act gets 12-15 minutes to shine. Since these acts are chosen by a highly competitive adjudication process (more on that below), those who make it to that stage are generally considered ready to tour professionally. Independent showcases are also short performances held in hotel conference rooms and/or hotel rooms, typically later in the evening after all the other conference events are complete (8pm-midnight or later). Often independent showcases can be “stacked,” meaning there are multiple artists performing in different rooms at any given time. Independent showcases need a different marketing/ presenter outreach strategy because artists won’t have the dedicated time in the conference schedule for all the presenters to attend like during juried showcases. Why Showcases Matter to Presenters Presenters are at these conferences to do business. In other words, they are shopping for talent to fill their seasons or series at the venue they represent. Showcases offer a condensed and impactful way for presenters to see many artists perform live, which is generally a prerequisite for booking a deal together. Conferences are also about discovery. Presenters are always building their list of artists to hire, either now or in the future. If a presenter hears about an artist with buzz, artists who fit the kind of profile or genre that they’re looking for, or gets a personal invitation, that presenter may attend a showcase to see that artist perform live. But time is short and there are many artists. If it’s an independent showcase, there’s no guarantee a presenter will stay for a full thing – they may have only time to hear one song – that’s why each showcase performance must be air tight in terms of preparation. How Do Showcases Help Me Book Work? For a booking agent, manager who does booking, or self-represented artists who are filling that booking role for themselves, getting a showcase is a big deal and huge opportunity. If an artist gets a juried showcase slot, there’s a much higher likelihood of getting serious leads from presenters for booking that artist. Unfortunately, there are no guarantees of getting work. The best you can do is be prepared and create the best possible environment for booking to happen. Each showcase presentation should include an announcement with information on how to reach the booking person for that artist. If presenters like the artist, but don’t know who to contact, that could be a lost opportunity. Agents, managers, and self-represented artists need to be prepared with short-term reminders about the showcase such as a postcard or one-sheet that can be handed to the interested presenters. You also need a system to capture and track which presenters are interested so you can follow up. Follow-up, follow-up, follow-up! How Do I Get a Showcase? What Do I Need to Have Prepared? Pre-Production: As a foundation, even before you consider applying for a showcase, artists and booking representatives must have everything ready for serious booking conversations with presenters. This includes, but is not limited to: excellent promotional materials, tour date availability (typically 1-2 years in advance), tech and hospitality riders, artist fees, tour budgets, program information, etc. Research Opportunities: Identify showcases that align with your artistic style, goals, and target audience. Showcases typically align with performing arts conferences, festivals, or specialized showcase events throughout the year. These tend to follow a yearly cycle, so if you miss this year, plan ahead for next year. Apply: Follow the guidelines outlined in the showcase application process, including submission deadlines, fees, and required materials. Typically a group of industry professionals (often agents, managers, and presenters) will volunteer to be on the review committee for showcases. It is highly competitive to get in, sometimes hundreds of applications for maybe 25 juried showcase spots, so these adjudicators may only spend a few minutes reviewing each application. With that in mind, your application materials need to be just as honed as your prospective showcase. Prepare A Showcase-Ready Performance: Showcases generally include 3 songs or 3 distinct presentations of your performing art for a total of 12-15 minutes. Creating this set is an art and strategy in and of itself. Rehearse extensively, paying attention to the flow and technical aspects of your performance to ensure a flawless presentation. Whether you are accepted to showcase or not in any particular conference, preparing your showcase-ready set is key to booking work now or in the future and is well worth the time. If all of this feels overwhelming, it’s okay... It's just that you may not be ready yet for this step in your professional life, but you can work toward it as a milestone in your business. Save time, money and heartache in the long run by taking a strategic approach and get clear about how showcases fit within the larger direction of your creative career or business. If you want support to get showcase ready, I can help. Click the button below to set up an initial consultation with me (free of charge) so we can discuss your goals. As a recap, showcases are a key part of how the performing arts sector does business. Artists reach their most targeted demographic of talent buyers, booking agents and managers gain the warmest leads, and presenters experience what artists can do live so they can fill their venues with excellent acts now or in the future. By understanding the mechanics of showcases, preparing meticulously, and leveraging the opportunity effectively, artists can make the most of any showcase opportunity as a key stepping stone to a flourishing career in the performing arts.
P.S. It’s the Start of Showcase Application Season for Fall 2024 Conferences! Western Arts Alliance (WAA) showcase applications due March 4, 2024 at 5pm PT - More info: www.westarts.org/showcase Arts Northwest (ANW) showcase applications due April 26, 2024 - More info: https://iwanttoshowcase.ca/43rd-annual-arts-northwest-conference-2024 I Want To Showcase - Online portal for showcase submissions for several performing arts conferences. https://iwanttoshowcase.ca *** Want help getting yourself or your artists showcase ready? Contact me for a free initial consultation here: www.calendly.com/cherijamison/network Cheri Jamison is an Arts Consultant with over 12 years of experience in the arts and nonprofits. Cultivating a non-judgmental, solution-oriented environment, Cheri meets her clients wherever they’re at with their business or creative career. The focus of Cheri Jamison Consulting LLC is strengthening organizations from the inside out through capacity-building, executive coaching, board training, and professional development. www.CheriJamison.com  "Nonprofit Thoughts with Cheri Jamison" is an interview post collaboratively written by Cheri Jamison Consulting and Brian Williams, Dandelion Consulting. Originally posted Jan 31, 2024 on the Dandelion Consulting Blog. Brian Williams: I met Cheri Jamison back in 2017 when we served on the board of the Arts Council of Johnson County. My first impression of Cheri was how observant and thoughtful she was. She often had insights that others hadn’t thought about. Cheri brings a diverse skillset to any conversation and I wanted to collaborate with her on an article about working with nonprofits, arts organizations in particular. The lowdown on Cheri Jamison: She is the daughter of a professional violinist and marriage family therapist, so she grew up surrounded by artists and developed a keen interest in human nature. She studied music and psychology in college, and after several years of performing music professionally moved more into the administrative side. She is a passionate advocate for the arts and still finds great joy in singing. She’s always been drawn to the nonprofit sector because of her personal values and desire to serve. Cheri’s career began in Los Angeles when she was recruited by the president of a nonprofit to create their human resources department. She later joined Cadenza Artists, a music agency start-up, as an artist advocate and was promoted multiple times to more senior roles, including Vice President of Operations on the executive team. After pitching an idea for a Performing Arts/Events Center at Unity World Headquarters to the CEO, she was hired as the Outreach Program Manager, where she oversaw partnerships and events for five years. During that time, she was also part of the advisory board of the Arts Council of Johnson County. Cheri started her consulting work with arts and culture organizations primarily when she moved to the Pacific Northwest in 2022. What type of nonprofit consulting do you provide for nonprofits? My passion for the arts, combined with over 12 years of experience in the nonprofit and performing arts sectors, uniquely positions me to support my clients in a variety of ways. Here are some of the ways I support my clients: 🔷 Strategic planning 🔷 Streamlining operations 🔷 Executive coaching 🔷 Board training and development 🔷 Professional development workshops, training, and keynotes 🔷 Event production, including concerts, fundraising galas, and retreats 🔷 Marketing and branding/website redesign 🔷 Market research surveys, music census and economic impact studies 🔷 Creative economy and music policy advocacy 🔷 Advising businesses that hire musicians on best practices 🔷 Career coaching for emerging and established artists and professionals I've worked with nonprofits, for-profit businesses, arts service organizations, higher education, government agencies, and individuals. Because of my diverse professional background and skill set, I offer a wide range of services (often needed by clients who wear many hats in their work), so you get support where you need it most. What is the number one challenge you hear from clients you support? How do you begin to work with them on that challenge? People come to me with all kinds of challenges, but I think at the core, they are asking, “How do I make this work?” often with a fundraising or sustainability flavor to it. A common theme I also hear is that nonprofit leaders feel like they are alone in the room and burned out, trying to “build the plane while flying it.” The first thing I always do is listen. Each situation is unique. Even when I have initial free consultations, I offer resources on how they can start building their support network, whether that’s leveraging their board or finding a local service organization that can connect them to other leaders in their community. Unfortunately, the nonprofit sector has been hit pretty hard with so much burnout and turnover. What advice do you have for nonprofits struggling with this? Limited resources, burnout, and turnover are common in the nonprofit sector. They are valid challenges that deeply impact nonprofit leaders on a physical, mental, and organizational level. Whenever I hear these issues from clients, I dig a little deeper to find out what the underlying causes may be. Here are just a few reasons: Lack of resources—perhaps the organization's budget or fundraising or revenue expectations are unrealistic, and some courageous conversations need to happen with the board. Burnout could be caused by negative self-talk or poor mental health, a lack of boundaries where the leader needs to learn how to say no (but feels guilty about it), needs to empower others, and/or document common operating processes so that tasks can be delegated. Turnover is an especially complex issue because it could stem from a multitude of issues, such as company culture, the wrong people in the wrong roles, management issues, a lack of clear agreements and expectations (or holding people accountable), compensation that doesn’t meet employee needs, etc. We can’t separate the humans involved from the organizational issues. We have to support both. With my master’s degree in psychology, I can help my clients navigate both the inner and outer challenges going on in their nonprofit. It’s hard to step back and reflect on your own organization when you’re in the thick of financial challenges, burnout, or turnover issues, so it’s helpful to have a neutral party like an executive coach or consultant to help talk it through. What advice would you have for someone wanting to start their own nonprofit? I recently wrote an article all about this! While it’s geared towards arts nonprofits, the information is universal to the nonprofit sector: “Should I Start an Arts Nonprofit?” In a nutshell, it’s a personal decision that may or may not be a good fit for you. Also, there are a record number of nonprofits being started every day, so check to see if there are other nonprofits in your local community doing the same thing. Consider joining or supporting an existing nonprofit rather than starting something new. If that service doesn’t exist in your area, then you may have found a needed service for your community! Fiscal sponsorship is an alternative option that’s been very successful in the arts and culture sector, allowing individuals or groups to be sponsored by a more established nonprofit in order to apply for grants and receive tax-deductible donations from supporters. There are a lot of factors to consider, so I encourage introspection and research before applying for 501(c)(3) nonprofit status. Any final nonprofit thoughts for working in the sector as we begin a new year? If you haven’t already, re-engage with your staff and board. Reflect on what you learned last year. What worked and what didn’t? Celebrate wins and share gratitude. Get clear on realistic goals for the upcoming year and how you want to do things differently. Let them know how you want to be supported as a nonprofit leader and listen for what they need as well, then make a plan for how to get that support in place. You got this! Cheri Jamison is an Arts Consultant with over 12 years of experience in the arts and nonprofits. Cultivating a non-judgmental, solution-oriented environment, Cheri meets her clients wherever they’re at with their business or creative career. The focus of Cheri Jamison Consulting LLC is strengthening organizations from the inside out through capacity-building, executive coaching, board training, and professional development. www.CheriJamison.com
Brian Williams created Dandelion Consulting with the purpose of “Cultivating Nonprofits for Sustainability.'' He has been fundraising for the nonprofit sector since 2003. His career spans large and small organizations supporting the arts, HIV, and houselessness. His experience includes: major donors, writing plans for annual development and donor stewardship, grant writing, appeals. He also does a Culture of Philanthropy Training for board and staff. www.dandelionconsulting.co  Are you an artist-turned-executive-director? Is fundraising top of mind, but you don’t know where to start? Keep reading. I meet artists all the time who take on leadership roles, sometimes willingly, sometimes reluctantly. It feels like in order to do the thing you love (whether it’s performing or bringing your artistic vision to life) someone’s got to handle the admin or business side and you’ve stepped up. Most of the time, that role boils down to: Where am I going to find the money? For this article on fundraising, I collaborated with my colleague Brian Williams, a nonprofit fundraising consultant, who has specific expertise in the arts. (We met serving on the board of the Arts Council of Johnson County in 2017.) I love Brian’s calmness and down-to-earth approach that takes a lot of the scary out of fundraising. What are your recommendations for new arts leaders to set themselves up for success in fundraising? In the realm of fundraising, regardless of the organization's age or size, fostering a culture of philanthropy is paramount. This principle, coupled with a strategic approach to board development, community engagement, and innovative fundraising, can set the stage for sustained success. Here's a guide for new founders and executive directors seeking to elevate their arts nonprofit in a thoughtful, strategic way. Embrace a Culture of Philanthropy: What does it mean to instill a culture of philanthropy within your team and stakeholders? In a nutshell, it means that everyone is empowered as an ambassador for your organization. Whether they have an official fundraising role (like EDs, development staff, and board members) or not, emphasize the importance of collective efforts in advancing the organization's mission. This mindset should permeate every aspect of the organization, from leadership to daily operations. Build a Diverse and Passionate Board: First things first. You’ve got to get a core group of the right people around you. When assembling your board, prioritize diversity, passion for your cause, and community connections. A diverse board brings varied perspectives and experiences, enriching the decision-making process and can make fundraising easier. Be transparent with board members that they are expected to fundraise. This could look like a give/get policy and working with them to develop a realistic fundraising plan. Implement a Working Board Model: In other words, put your board members to work! In the startup phase, acknowledge that one person cannot do it all. Opt for a working board that actively participates in daily operations while steering the organization's direction. Again, communicate this dual role clearly to prospective board members, ensuring a shared understanding of their involvement in both the hands-on work and strategic decision-making. Engage Your Innermost Circle: Once you have your core people, tap into the support of your innermost circle—friends, family, colleagues, and those committed to your cause—to start spreading the word about your organization. Leverage their passion and connections to add people to your email list/CRM, which will be an important part of your fundraising efforts. Clearly articulate your mission and the impact you aim to achieve, compelling them to become ambassadors for your cause. Fundraising is a long-game that requires intentional relationship-building. Foster Community Connections: Forge meaningful partnerships with other arts organizations, artists, and cultural institutions to strengthen your community ties. Collaborative initiatives not only broaden your network of potential supporters but also amplify your organization's impact. Engage in local events, attend community gatherings, and showcase the transformative power of the arts to connect with a wider audience. Utilize Crowdfunding Platforms: Explore crowdfunding platforms like GoFundMe or Facebook's fundraising tool to amplify your reach. Crowdfunding enables you to showcase your cause on a large scale, appealing to potentially millions of individuals and organizations to contribute. Craft a compelling narrative on your website, sharing your mission, vision, goals, and relevant information to inspire support. Conclusion: By integrating these recommendations into your approach, you're not only fostering a culture of philanthropy within your organization but also laying a robust foundation for fundraising success. A diverse and passionate board, coupled with engagement strategies targeting your innermost circle and leveraging crowdfunding platforms, will propel your arts nonprofit toward sustained growth and impact. Get Support: Want help building your board or creating a fundraising plan? Reach out to Brian for a complimentary 30-minute consultation. And if you’re an artist just stepping into the world of arts leadership – Arts Consultant Cheri Jamison can help you get oriented, supported, and learn to “fly the plane while it’s in the air.” There are tons of free resources and support available. Let’s have a coffee over Zoom to chat about it (free of charge). Article collaboratively written by Cheri Jamison Consulting and Brian Williams, Dandelion Consulting.
Brian Williams created Dandelion Consulting with the purpose of “Cultivating Nonprofits for Sustainability.'' He has been fundraising for the nonprofit sector since 2003. His career spans large and small organizations supporting the arts, HIV, and houselessness. His experience includes: major donors, writing plans for annual development and donor stewardship, grant writing, appeals. He also does a Culture of Philanthropy Training for board and staff. dandelionconsulting.co Cheri Jamison is an Arts Consultant with over 12 years of experience in the arts and nonprofits. Cultivating a non-judgmental, solution-oriented environment, Cheri meets her clients wherever they’re at with their business or creative career. The focus of Cheri Jamison Consulting LLC is strengthening organizations from the inside out through capacity-building, executive coaching, board training, and professional development. CheriJamison.com  "Should I start a nonprofit?" If you’re flirting with this question, consider the following…
In the arts world, the decision to start a nonprofit is a significant one that requires careful consideration. While the nonprofit structure offers advantages, it also comes with unique challenges and responsibilities. As a performing artist or other creator, you have a great idea. You are used to bootstrapping and bringing ideas to reality. You may have invested a lot of your own time and money into your idea or project. Others may be telling you to go for it, but you’re not sure what all goes into it, or if it’s right for you. In this article, we'll explore key factors and questions for artists to consider when deciding whether to embark on the nonprofit journey. 1. Personal Motivation Before diving into the intricacies of nonprofit management, performing artists must reflect on their personal motivations. Starting a nonprofit is more than a legal structure; it's a commitment to a cause. Consider what drives you as an artist and whether your goals align with the mission-driven nature of nonprofits. Be aware that once your organization gets 501(c)(3) nonprofit status, that entity no longer belongs to you, even if you are the main founder and leader—it belongs to the greater community and is stewarded by a Board of Directors alongside the Executive Director. In other words, you will not be able to sell that business no matter how much of your own time, money, or energy you put into it; it can only be taken over by other leadership or dissolved. If your primary motivation is to create social impact, educate, or promote cultural diversity, a nonprofit structure may be the right fit. It’s important to know why you are pursuing this and what you want out of it, otherwise you risk personal and/or professional misalignment. 2. Board Structure One of the cornerstones of a successful nonprofit is a dedicated and knowledgeable board of directors, who are all volunteers. Assess your ability to assemble a diverse and committed board that shares your passion for the arts and your organization's mission. A well-rounded board can bring valuable expertise in areas such as finance, legal matters, marketing, and community engagement. Ensure that your board is not just a group of supporters but strategic partners invested in the long-term success of the organization. Nonprofits have a model of shared leadership (like twin engine jets, as my nonprofit mentor likes to say), particularly between the board president and executive director. While some founders start out as both board president and executive director, it’s unsustainable to keep it that way long-term (in other words, there's a major risk of burnout trying to do it all). All potential nonprofit leaders must understand they're walking into an environment of shared leadership and interdependence. 3. Fundraising Nonprofit organizations heavily rely on fundraising to sustain their operations and fulfill their missions. Performing artists must be prepared to navigate the complex landscape of grant writing, individual donations, and corporate sponsorships. Yes, as a nonprofit, you are now able to receive tax-deductible donations, and that also means that you (and your board) will need to be actively fundraising and directly asking people for money. It’s a skill that can be learned! Your nonprofit may also be eligible to apply for government and foundation grants. That means investing time in researching and applying for grants, which can be time- and labor-intensive. Just remember, an entire career field of nonprofit fundraising professionals exists around this effort. You don’t necessarily have to do this all yourself, but as the leader, you will be actively involved. The fundraising cycle for nonprofits can sometimes feel exhausting and never-ending, but it can also be highly rewarding, especially if you’re a natural relationship builder and storyteller. 👉 If fundraising is your primary concern, I’ve got you! I’m currently writing a series of articles on nonprofit fundraising in collaboration with arts fundraising expert, Brian Williams of Dandelion Consulting. 4. Reporting Responsibilities Nonprofit organizations are subject to various reporting and compliance requirements. Artists transitioning to a nonprofit structure should be ready to embrace transparency and accountability. This includes regular financial reporting, filing annual tax returns (Form 990 in the U.S.), and meeting any regulatory obligations in their jurisdiction. The ability to manage these responsibilities ensures that your organization maintains credibility and trust with donors, stakeholders, and the public. 5. Impact Measurement Beyond financial reporting, nonprofits are expected to demonstrate the impact of their programs to their donors, the public, and to funders. Define clear metrics for success in line with your artistic and social objectives. Track your outputs and more importantly, your outcomes for strong grant applications and reporting. Effective impact measurement not only satisfies reporting requirements but also helps you refine and enhance your programs. It helps you demonstrate the tangible difference your organization is making in the community as a public benefit. Conclusion Deciding to start a nonprofit as a performing artist is a complex and personal choice. It requires a commitment to building a strong support network and a willingness to navigate the challenges of nonprofit management. By carefully considering factors such as your motivations, shared leadership with a volunteer board, fundraising, reporting responsibilities, and impact measurement, you can make an informed decision about whether starting a nonprofit is right for you. While the nonprofit path may be demanding, the potential for positive change and artistic fulfillment makes it a worthwhile endeavor for those with the passion and dedication to see it through. *** Want some additional support figuring out if the nonprofit structure is right for you, and/or what your other options are? Send me an email and we'll chat about it! Cheri Jamison is an Arts & Nonprofit Management Consultant with over 12 years of experience in strategic planning, streamlining operations and community outreach. As a Renaissance woman with a diverse skill-set, Cheri is known for her ability to spearhead new initiatives and bring visionary projects to life. CheriJamison.com  In the world of performing arts, contracts are often viewed as boring but necessary legal documents, outlining the terms and conditions of a professional engagement. While they certainly serve this purpose, contracts can also be powerful tools for building and nurturing relationships within the industry. As Vice President of Operations of a music booking agency, contracts were a huge part of my day-to-day work. I executed close to 450 contracts during the course of my two years with that company and a wide variety of deals for live performances (universities, performing arts centers, concert series, festivals, clubs, etc). Often, I'd have to negotiate or renegotiate with presenters to include greater protections or make the terms more balanced (e.g., with the Force Majeure clause) while also maintaining good professional relationships. I learned this was a key opportunity that, if done well, could deepen the relationship. In this article, we will explore how re-framing your mindset around contracts can transform these documents into invaluable instruments for fostering trust, strengthening interpersonal connections, and ultimately ensuring the long-term success of artists and organizations alike. The Traditional View of Contracts Traditionally, contracts have been seen as dry legalese, binding agreements designed primarily to protect the interests of both parties involved. They outline the obligations, responsibilities, and compensation for each party, leaving little room for flexibility or interpersonal considerations. This conventional approach often results in a transactional relationship, where artists and organizations interact out of necessity (or with uncomfortable power struggles) rather than genuine collaboration. 💡 Artists, if you don’t already have and use a standard contract, please do! It speaks volumes about your professionalism and how you run your business as a musician or artist group. Shifting the Paradigm To harness the full potential of contracts as relationship-building tools, it's essential to shift the paradigm. Instead of viewing contracts solely as legal documents, consider them the foundation upon which to build a robust, trusting, and mutually beneficial partnership. 1. Clear and Transparent Communication Effective interpersonal skills are at the core of successful contract negotiations. It begins with open and honest communication. Each party should have a clear understanding of their roles, expectations, and objectives. Take the time to engage in meaningful conversations, addressing concerns and questions openly. This fosters an environment of trust and understanding from the very beginning. 💡 Practical Tip: Presenters, if you know your contract has non-negotiable terms out of your control (common with government or university contracts) or requirements that may entail the artist having additional insurance, mention it in your conversations upfront or consider including a short bullet list in your deal memo before sending the full contract. This will give your counterpart a heads-up and build goodwill, even if there are terms you cannot change. 2. Collaborative Problem-Solving Negotiations and contracts often have an inherent tension because both sides are looking out for their own people, resources, etc. Instead of approaching these conversations and clauses with a combative mindset, view them as opportunities for collaborative problem-solving. Avoid manipulative sales tactics because most people can smell them a mile away. Be mindful of the tone you want to set in the conversation, and do your best to have a calm confident intention that you both will be able to work out a mutually beneficial solution. Most importantly, cultivate the mindset that the partnership is more important than any individual deal. “Don’t think of it as us vs. them,” as my friend and professional leadership coach, Lisa Husseini, describes negotiation, “but rather imagine you are both on the same side, standing shoulder to shoulder, turned in the same direction looking at the issue and asking yourselves, How do we make this work?” When conflicts arise, work together to find solutions that meet both parties' needs and maintain the integrity of the partnership. This approach can strengthen the bond between presenters, agents, artists and organizations. 3. Flexibility and Adaptability In the dynamic world of performing arts, unforeseen circumstances can disrupt even the most carefully planned engagements. As we witnessed during the COVID-19 pandemic, invoking the “Force Majeure” clause, where both parties cease all legal obligations if something happens outside anyone’s control that causes cancellation, can be absolutely devastating financially and to the relationship. Presenters, agents, and artists may discuss alternative provisions that allow for more flexibility and adaptability. This works best when included in the initial negotiation conversations rather than after receiving the initial contract document. You could approach it by talking about your organizational values or saying, “This is how we like to work with our partners when it comes to cancellation and Force Majeure circumstances.” When both parties are willing to accommodate reasonable changes, such as rescheduling or discussing what it would take to make each party whole, it demonstrates a commitment to the partnership's success rather than rigid adherence to contractual terms. 💡 Resource: Building Ethical and Equitable Partnerships in the Performing Arts, by the Association of Performing Arts Professionals (APAP). 4. Mutual Respect and Empathy One of the most powerful tools for building relationships is the practice of mutual respect and empathy. Recognize that artists and organizations are individuals with unique needs and aspirations. Show empathy by understanding their perspectives and challenges. This humanizes the contractual process, making it more about collaboration than compliance. The Trust-Building Continuum Building trust is a gradual process that extends far beyond the signing of a contract. A relationship-focused approach requires ongoing effort to nurture and maintain trust throughout the engagement. If you have a team, it’s important to train them because they are an extension of you in that partnership. Here are some strategies to consider: Consistent Communication Stay connected throughout the project, providing updates and feedback regularly. Make an effort to check in with each other and address any concerns promptly. Consistent communication demonstrates your commitment to the partnership's success. Deliver on Promises Meeting or exceeding the expectations outlined in the contract is crucial. When both parties consistently deliver on promises, trust deepens, and the relationship becomes more solidified. Celebrate Successes Acknowledge and celebrate milestones and achievements together. These moments of shared success can strengthen the emotional connection between artists and organizations. Learn from Challenges When challenges arise, view them as opportunities to learn and grow together. A relationship built on trust can withstand setbacks and become even stronger through adversity. In conclusion, re-framing contracts as a relationship-building tool can revolutionize how presenters, agents, and artists collaborate. But we can’t wait for others to do it. Change begins with our own commitment. Start within your own business or organization by updating your own contract with more equitable language and talking to your professional partners about why you’re making those changes from a values-led place. This shift not only enhances the quality of artistic productions but also creates a supportive, thriving, and more equitable ecosystem within the performing arts community. In our relationship-based industry, let's use every interaction—especially contracts—as a way to showcase our professionalism and strengthen our connections. *** This article is inspired by a workshop that Cheri will be presenting at the 2023 Arts Northwest Conference on Wednesday, Oct 18, 2023. For more information on the conference, please visit: artsnw.org/workshops   As the leaves start to turn and the air carries a hint of autumn, the performing arts world gears up for one of its most exciting and crucial times of the year: conference season. This is when artists, agents, and presenters come together to showcase their talents, forge new partnerships, and shape seasons at performing arts centers, festivals, and concert series. I just returned from the first of several large booking conferences (Western Arts Alliance) and I will be a workshop leader at another arts conference next month (Arts Northwest). In this blog post, we'll take a closer look at conference season, how business is conducted between agents and presenters, and what artists can expect. *** The Essence of Conference Season Conference season typically spans several months, with events and gatherings taking place in various locations, both physical and virtual. These conferences are organized by industry associations, such as the Western Arts Alliance (WAA), Association of Performing Arts Professionals (APAP) and the International Society for the Performing Arts (ISPA), to name a few. They serve as a melting pot for professionals from all corners of the performing arts world, including artists, agents, presenters, producers, and more. The Heart of Business: Agents and Presenters At the core of conference season lies the intricate dance between agents and presenters. Agents, representing artists or performing companies, aim to secure bookings and partnerships with presenters, who are responsible for programming performances in venues, festivals, and theaters. These meetings are where the magic happens, where artistic visions meet practical logistics, and where future collaborations take shape. Be mindful that presenters are booking for the upcoming season, not the current one, so there may be months or even year+ between when the conference takes place, the deal is made, and when the actual performance takes place (and you get paid). What to Expect as an Artist For artists, conference season is a whirlwind of opportunities and a chance to gain exposure on a broader scale. Here's what you can expect:
Conference season is an exciting and crucial period in the performing arts world. It's a time when artists, agents, and presenters come together to shape the future of performing arts entertainment. As an artist, conference season offers a unique opportunity to showcase your talent, connect with industry professionals, and pave the way for future collaborations. Embrace this season with enthusiasm, be well-prepared, and remember that patience and persistence can go a long way in building a successful career in the performing arts. Whether you're a seasoned performer or just starting out, conference season can be a game-changer for your career. *** Want help navigating conference season? Need help figuring out if it’s a good investment for your music career? I can help with that. Send me a message and we’ll set up a time for a free consultation.   Recently, I received a cold email outreach from a classical guitarist. The body of the email was short—just two YouTube video links with one sentence descriptions each, then the sign-off from this artist’s assistant (maybe manager?). I didn’t know who this assistant was or the performer.
It took me about 10 seconds to read, but I had no idea why this person had emailed me or what to do with it... so I deleted the email. How many performing artists unintentionally sabotage their chances of getting hired because they don’t stop to think about the person on the other end of the communication? There are a few key things I’ve learned in my time as Vice President of Operations for a music booking agency, career coach for performing artists, and arts nonprofit consultant: You will get better results if you 1) do your homework, 2) be prepared, 3) speak to the other person’s needs and 4) always have a call to action. *** When I was at the music agency, we would frequently receive inquiries from artists looking for representation. Unfortunately, many of these emails would just end up in an email folder to be reviewed later, if ever. Why? Because we only did a roster review about once per year, between performance seasons. Because 95% of the time, we only added new artists to our roster after one of our agents saw them perform or showcase live. Because, at the time, each person in our agency received 100–200 actionable emails PER DAY related to our current work. In short, email inquiries to get an agent (at least at our agency) were an ineffective strategy. (Though we did receive a very memorable one where the lady had badly Photoshopped her head onto supermodel bodies, which did garner some attention and laughs, but we would never take that artist seriously.) Generally speaking, the fact that we did not respond had nothing to do with the talent of those artists but with the time constraints and procedures in our own company. Whenever possible, I would acknowledge receipt of the artist’s email and let them know about our timing and process for review. That kind of communication, however, is very rare. But as an artist, how would you ever know that? All you experience on the other end of the email is radio silence. Especially if you’ve put a lot of time and effort into an email campaign, it can be very frustrating. Which brings me to my practical suggestions: 1) Do your homework. Take the time to learn about the person or organization you’re wanting to reach. Trust me, it will save you time in the long run. Have you reviewed the organization’s website to make sure that person still works there? Are they the correct person in the organization to handle your request? Are you spelling their name correctly? Are you using their correct pronouns? To go even further, IF this is an organization that you’re seriously interested in, is email the best way to connect with them? Or is there a better way to engage them to start a relationship (such as by networking with them in person at a conference)? This kind of research and preparation can be tedious, yes, but if you do it, your efforts will give you a clear edge. Otherwise, you risk turning off the very people you’re trying to engage. 2) Be prepared. Before I dive into this one, a little context and mindset reminder: Most artists feel disempowered when they do outreach, but it’s important to remember that as a performing artist, you are a small business owner. You are providing a service, and the person you’re reaching out to is either your direct client (presenters, venue owners, talent buyers) or someone you may want to hire as part of your team (in the case of an agent or manager). Some questions to ask yourself or research may be: What do you know about their business and business model? Do you know how you fit into it? In other words, what can you do for them? How would you make them money? Understanding your value within the creative economy can help you feel more equal in the power dynamic. Do you have all your ducks in a row to be ready to start working with them if they say yes? (i.e., an organized press kit with high-quality pictures, videos, and other marketing materials.) Being prepared and organized sends the signal that you will be professional and easy to work with. That goes a long way in this industry. 3) Speak to their needs. When you’re prepared and ready for the communication, whether in person or by email, frame your words in a way that speaks to their needs and centers their world (not yours), using their vocabulary ideally. This is a key for just about any kind of sales or marketing communication. What problem do you solve for them? How do you make their job or life easier? You may not be saying those words exactly, but if you know what they care most about, then you can speak to that need. Clearly state what benefit you are bringing them and why you think you’re a good fit for their venue or organization. Is it a mixed use venue, such as a bar, looking for bands to draw an audience? Then have the stats from your last several similar gigs and say, "When I played at x location, I consistently drew in X% more than the venue’s usual patrons, and the owner said the audience stayed significantly longer on nights I played." If you don’t have those stats or testimonials, ask for them. If you’re reaching out to potential agents or managers, you need to have some kind of self-represented touring history to prove you have a career for them to manage. They will be evaluating you based on how well they think they can sell you to their clients (likely bigger presenters/talent buyers). Having press testimonials, stats, high-quality materials, funding for touring, and a healthy audience or social media platform will all work in your favor. A lot of this is about being as prepared as possible, which will be self-evident if you have that in place. If you speak to their needs in the communication as well, it shows you understand their world and the interdependent business partnership you are inviting them to consider. 4) Always have a call to action. Chances are, the folks you are emailing are busy. Help save them time by telling them what to do next (in a nice way). Across many industries, this one piece of advice is universal: always have a clear call to action (CTA). In other words, what do you want them to do? Want them to book you? Get to the point about why they should, then tell them what action to take. Your CTA may be a button that says something like "Bring xyz to your stage" or "Book now" with a link that auto-generates an email. Or for a slightly softer call to action, say "Learn more" and link to your website, but be sure to also include appropriate contact information in case they want to hire you. Be careful to not include too many live links, otherwise your email will end up in their spam folder. In a competitive field, do everything you can to give yourself that extra edge. Don’t make the mistake of sending a pitch email without doing your homework, being prepared, speaking to their needs, or having a clear call to action. Otherwise, your email may end up deleted in 10 seconds, like the one in my inbox earlier this week. *** What has worked well for you when sending artist outreach emails? If it’s something you avoid or feels frustrating, what gets in your way? Leave a comment or message me directly! Cheering you on, Cheri  Prior to my 20-year high school reunion last fall, I pulled out my high school scrapbook. I found an interview of me in the school newspaper as a senior, about to graduate and pursue a career in the performing arts…
I see the picture of myself clearly: A lanky young woman with a brilliant smile and shoulder length brown hair, straight like the A’s on her report card. She has spent four years hyper-focused on building a resume to get into a good music school, thinking that was the ticket to her future as a professional singer. She did it wholeheartedly. Time outside of school was devoted to voice lessons, piano lessons, dance lessons, rehearsals for countless performances and even competing in a beauty pageant! The interviewer asked, “Why did you choose to become involved and pursue this as a career?” “Performing gives me joy and gives joy to others. What could be a better reason?” That joy fueled me, but I was ambitious, too. Film, media, and magazines showed me the shiny lives of celebrities as well as the starving-artist-to-success story. Even though I intellectually understood only a few artists reached that level, I was confident I would be one of them. Little did I know what the biggest cost would be…. I pursued a career in music as I think many of us do. I had talent, a love for music, and a dream. I was lucky enough to have people who believed in me, who saw my potential and supported me. They wanted to see my name in lights, too. My parents paid for all kinds of lessons and my basic needs, which provided the gift of time for all these pursuits. Like most kids, I didn’t have any real concept of what that all actually cost or what a gift that was. Again, I was (naively) convinced just getting into a good music school was my shoe-in for a professional career. When I was in college at USC’s Thornton School of Music studying opera, I did not learn much of the business side of music. The course of study was very technique focused to make us into the best possible performers, how to audition well, and be prepared when we were cast in opera roles. How the music industry worked wasn’t part of the general curriculum for my major, so I didn’t think it was necessary. The underlying belief was: If you’re good enough, talented enough, and work hard enough, then you’ll get discovered and everything will fall into place. Tactically, I was taught a narrow prescribed path: first you do this, then you do that, then with a dash of luck, a lot of hard work, you’ll have a career… but there are no guarantees. We did have masterclasses with working professional singers who would provide a little more insight into the lifestyle, but the advice felt very piecemeal. I remember at the time thinking, “Geez, that doesn’t sound very good. I’m not sure I really want to do that.” Immediately the whirlwind of internal commentary started: After investing so much time, effort and money, how could I possibly choose anything different? How could I disappoint everyone who’s believed in me and invested in me? It would be like betraying my own dream! When I graduated, it felt like a great accomplishment, but I honestly had no idea what to do next. I experienced a full-blown identity crisis post-college. My school support structure was gone. It was clear to me now a good music school wasn’t a guarantee for work or a career. I wasn’t even sure what kind of music career I wanted any more. I knew I still loved to sing. I knew I needed to audition to get work, but how do I find that? What did they say about agents again? All the standard young-adult-launching-into-the-real-world anxiety was really hitting me. I got an office job which paid my bills, but not much else. I learned my creativity tanked when I felt stressed about the rent. Then I had the brilliant idea to start a business that would pay for all my needs and give me plenty of time to do my music. Easy, right? I consumed a crazy amount of information and training on entrepreneurship. All along the way, I was pitched more and more programs and services: Get more clients! Earn your first $100K from home! Passive income! Sales, sales, sales!! Not to say that all these folks were selling snake oil; many I found very helpful in some way or another. Was there ever a conversation about return on investment (ROI)? No. Was there anyone who sat me down and said, “Do you have a solid idea for a business? Do you know how you’ll get capital?” No. When I focused on following the steps to “do it right,” it gave me a (false) sense of progress and purpose, but the success I envisioned always felt out of reach. Unknowingly, I had transferred my same mental habits and belief system about pursuing music to pursuing entrepreneurship. I felt disempowered and out of control. There were so many gatekeepers. Paying clients felt like ephemeral creatures. As the inevitable pile of rejections grew, I started doubting, thinking it was something wrong with me. I turned against myself when things didn’t turn out the way I thought they should. I kept searching for answers and solutions. Did I need a new domain name, a different tactic, or another $1,000 program on marketing? If I could just find the linchpin! Maybe if I contorted myself or my content just so, the right people would take notice and my dream would be fulfilled. It’s hard to admit, but I was an artist-consumer. I had an ambitious dream that fueled many of my purchasing decisions, but I didn’t feel like I had real authority over my own career trajectory. It was so much work and I was hustling so hard to start a business that would pay for my life, so I could finally do the thing that brought me joy in the first place. The biggest cost: I didn’t even notice the joy of performing started slipping away. I fully bought into my own judgment that whatever achievements I had in my career thus far, didn’t amount to “making it” in the eyes of the world (which seems to be nothing less than celebrity). This made me incredibly sad and unhappy. It wasn’t until several years later that I truly started to understand the general music ecosystem and the many, many options to participate in the music world. It didn’t have to look just one way. With the help of a career coach, I slowly started reframing what I judged as my past “failures” as meaningful experiences. I started to take a step back, to really think about what I wanted and why, to untangle my identity from my career. I started to think about my life as a whole and put my career in its proper place. For the first time, I gave myself permission to start exploring what success would look like and feel like for me, as I chose to define it. I wanted to feel joy from my singing again and I knew this healing work around my career was an important step. When I mentioned to my coach that I was feeling shut down to my own singing even though part of me really wanted to, he said he could understand exactly why…. “Because you are afraid of hating music.” I was shocked at his calm clarity about something that had evaded me for so long. “When you engage with music, it triggers those bad experiences, and you’re afraid if you keep going down that road, you’ll end up hating music and you couldn’t bear that. Work on uncoupling those bad experiences by saying to yourself ‘Yes, I have had painful experiences AND I love, love, love music.’” I immediately started crying. I do love music; I just hadn’t let myself feel it. I had built a wall up inside me to protect myself for all those years in an extremely tough industry. I had forgotten my response from that school paper interview: Performing gives me joy and gives joy to others. From that point forward, I started to take baby action steps to allow that love to flow again, reclaiming my music for myself. I chose to move in a direction career-wise where I felt more empowered, finally embracing ALL the entrepreneurial skills I’ve built over the years, while still serving the music and arts community I love. I don’t share this story to get sympathy. I share it to illustrate that the multitude of courses and programs teaching the how to’s of a creative career, don’t teach us tools to work *with* our artist nature. Those of us who pursue careers in the arts are probably sensitive people, otherwise we wouldn’t be effective artists. We’re told the moment we hit a bump in the road, “you need thick skin if you’re going to survive this industry.” But thick skin can cut us off the very sensitivity and joy that connect us to our creativity and move our audiences. I suspect many of us just become really good at numbing, ignoring, or hiding that it still stings. Instead, I believe we need to learn to become resilient—to have practical tools and support systems in place, so we can handle our big emotions in a healthy way, especially as we walk along a career path that is often uncertain and uncomfortable. And if you’ve moved away from a creative career because it felt too hard, because your priorities changed, the season of your life changed, or it just happened gradually, all of those are choices that don’t often get acknowledged as valid. Maybe it stopped being fun. Maybe when you saw the realities of the industry, you changed your mind. That’s okay, too. I see so many incredible artists doing good and contributing to their communities who, in deeper conversations, reveal they are unhappy because their career didn’t turn out the way they wanted—their dream unresolved inside of them. Let’s start to normalize the creative hero’s that keep their joy alive as the conductor of their church’s children’s choir, or start a nonprofit to improve access to the arts in their area, or the touring musician who now fights for music-friendly policy in their city. Success doesn’t have to look just one way. As an artist-business owner (vs. artist-consumer), you can choose what that means for you. Joy is now one of my business success metrics. And that joy is a much more sustainable fuel to move through the music world, at least for me. We don't have to suffer for our art. That's an old story. The experience of your music career internally is just as important as the external. When you reclaim your power and joy, your career will also be transformed.  This rarely happens, but I got carried away responding to a social media post recently.
In a nutshell, a local organization was posting a call for musicians to perform during a 4-hour time slot. So far so good. Then they said, “Unfortunately, we don't have the funds to pay any of the musical acts. But you get to keep 100% of your tips and we will promote you on [our social media.]” Also known as exposure. Now, I am pretty even-minded most of the time, but this got me riled up. I finally found the words I wanted to share (and maybe not directed at the people you would initially expect). Here’s what I posted, slightly edited and expanded…. There's a lot to unpack here. I think it's a conversation worth having in an ongoing way. My personal opinion is that expecting musicians to perform for free, for tips, or “exposure” is a culturally-accepted attitude that needs to change. Assuming musicians would agree to this kind of arrangement has the unspoken message, “I don’t think what you offer is worth paying for, but I want you to do it anyway. And you should thank me for giving you this opportunity.” Think of the full emotional impact of saying that to someone’s face. It’s devastating, right? You wouldn’t want someone to say that to you. That may not be the message the event planner intended, but it’s frequently the message received. Do this instead, event planners: If your organization really doesn't have a large budget, but you want music at your event, treat a musician just like any other business vendor or sponsor. Acknowledge the value and underlying benefits musicians would bring to the event and negotiate with them in good faith about the budget you do have. Unfortunately, after years of musicians being asked to perform for free, tips, or exposure, sometimes fed misinformation that this is the only way to “get discovered,” many musicians have internalized the message that their talents are worthless. Or worse, it instills a misbelief that they are worthless and sends them into a shame spiral. Navigating a career in music can be quite emotional, yet there is little to no training to learn how to handle situations like this. Musicians who are looking at this "gig" from feelings of financial scarcity and perhaps real need (i.e. "I need whatever cash I can get to make rent."), are basically in fight, flight or freeze mode physiologically. They are in survival mode– and we don't make great decisions from that state. I also think musicians don't always take stock of all the time, money, and effort they've invested into developing their talent and craft. For most of us, it's years and thousands, if not hundreds of thousands of dollars in private lessons, gear, practice time, competitions, schooling, ongoing education, plus years of experience actually performing and refining our craft. Think of it as self-funded capital you’ve put into your business. Your talents add real economic impact for the organizations that want you to perform. Music acts like a magnet and brings people in and keeps people at events and venues. While there are specific circumstances where you might choose to donate your time and talent, it’s not right for others to assume you would do so. An analogy might be: A chef (professional or otherwise) has invested time, money, and dedication to learn their skills. They feed people. They love to feed people. It takes time to put meals together. All the ingredients to make that meal cost that chef their personal money. When an organization asks that chef to bring their food and feed the people that come through that event, it’s commonly recognized that the chef is providing a service with inherent value (economically and personally). Depending on the relationship with that organization, that chef may well decide to donate their services and food to the event. They might be considered an in-kind sponsor and get those benefits accordingly. Musicians deserve to be treated with the same respect as other business owners. I’m sure there are many contributing factors over many years that have led to this generalized attitude towards devaluing musicians and why musicians buy into it.
No matter how this widespread mindset came about, we can work together to change it. If you're a professional musician, please don't perform for free, just tips, or exposure. It makes it harder for the musicians who are trying to charge livable artist fees and get sustainable income. Additionally, you (unconsciously) reinforce the idea that this way of devaluing musicians is okay... and it's not. You teach people how to treat you. Personally, I think many of us are tired of arguing for the value of our work, which because of the personal nature of our work, can feel like arguing for our own value. And that can really do a number on your self-esteem and mental health... especially after years and years. Now, I don't think we should shame others who want music at their events without paying them. However, I think we need to bolster ourselves as a professional music community, adhere to higher standards ourselves, and re-educate people and organizations who make unreasonable and unsustainable asks from musicians (who are self-employed small business owners). Or just say “no” politely if you're not up for a deeper conversation. If you wish you could have those courageous conversations, but feel uncomfortable doing so, or need help finding the words or confidence to do it, I would love to help. As you can tell, I feel very strongly about this topic! As a music and arts professional with training in psychology, and as a performer myself, I want to help change hearts and minds to start valuing music (and music professionals) more. We deserve better. We can change the narrative. Yes, broader society needs re-education, but musicians have to own their value, too... and arguably, first.  In late March 2023, I was a guest speaker for University of Colorado, Denver's class on "Music Cities'' (via Zoom), alongside Meara McLaughlin (MusicPortland's Executive Director). We shared about the unique aspects of the Portland music scene, music community, and what we're doing to make Portland a better place to be a music industry professional.
In a way, it was a pitch to these young professionals to come live, work, and play here. Come be part of our music ecosystem and community! First, I shared my professional background: I am an Arts and Nonprofit Management Professional with more than 10 years of experience in strategic planning, streamlining operations, and community outreach. I earned my Master’s degree in Psychology from the University of Santa Monica, where my thesis focused on helping performers overcome stage fright and develop other skills for peak performance. I also graduated from the University of Southern California’s Thornton School of Music, with my Bachelor of Music degree in opera vocal performance. After graduating, I was hired at Long Beach Opera, as the primary singer for their Educational Outreach program where I sang for 7 years, while also working in the nonprofit sector. In 2015, I went into arts administration and became VP of Operations for an LA-based booking agency with a roster of artists (from rock bands to classical string quartets to Global dance troupes), booking national and international tours. I’ve served on the advisory board of the Arts Council of Johnson County. I’ve also offered career coaching for performing artists. Last year, my husband and I moved to the Portland Metro area and got connected with MusicPortland. Over the last several months, Meara and I worked together to manage the Oregon Music Census, gathering data for the first-ever benchmark economic study for the Commercial Music Industry and Live Performance industries statewide. This study is another step to strengthen Portland as a music city and Oregon as a music state! “A Music City, by its simplest definition, is a place with a vibrant music economy,” according to IFPI in their 2020 report on The Mastering of a Music City. “There is growing recognition among governments and other stakeholders that Music Cities can deliver significant economic, employment, cultural and social benefits.” “Music Ecosystems” is an alternative term to refer to "Music Cities," in a more accurate and inclusive way. Personally, I think "ecosystem" also better reflects the interdependent nature and intersecting business models in the music world. For now, let's consider these terms interchangeable. The Music Cities curriculum, developed and taught by Professor Storm Gloor at University of Colorado, Denver since 2019, has students examine the development and enhancement of music communities, using as templates the music communities in the city of Denver, the state of Colorado, and other cities throughout the world (such as Portland). Plus in an advanced class, students explore how investment in a city's music economy can be beneficial to the development of both a city's physical and economic landscape. Finally, students can also learn how to use music to drive local and regional tourism strategies. This concept has growing interest, funding, and research support. Nonprofit, commercial, consulting, and government/municipal entities are all getting involved to put forward the idea that Culture means business and economic impact. In fact, according to a recent report released by the Bureau of Economic Analysis (BEA), “Arts and cultural economic activity accounted for 4.4 percent of gross domestic product (GDP), or $1.02 trillion, in 2021.” This was still a year where the industry was just starting to recover slightly from the COVID-19 pandemic, so I’d expect future reports to have much higher numbers. The Oregon Music Census and economic study also showed that specifically commercial music and live performance industries were a huge economic driver and warranted greater attention and funding by lawmakers as "emerging economic sectors." Portland's music ecosystem is a unique one. We have a myriad of independent venues, artists, and music businesses that make up Portland's vibrant commercial music scene. We also have the standard “legacy arts” you may envision when you hear the term arts & culture, such as the opera, symphony, and ballet. Recently the Executive Director of The Old Church, Constance Bracewell, described Portland's music ecosystem as a “coral reef.” So much depends on it, yet you only recognize the devastating after effects when it’s no longer there. Much of society learned that the hard way during the COVID-19 pandemic. Music is part of the intricate fabric of the ecosystem that makes a community vibrant and prosperous. Research data is now proving this benefit to society and that's very exciting. In other words, music is meaningful and economically viable. Investing in music (and musicians) means better business! It’s not expendable, nor a luxury. It struck me however, as I gazed at this Zoom gallery of enthusiastic music business students and put myself in their shoes... Were we really answering the real questions in their hearts and minds?
As much as any city has to offer, there are so many things to consider when choosing a place to live (hard information, plus personal preferences). This huge decision deserves nuanced introspection, but often is made impulsively, by necessity, or unconsciously. Still, sometimes serendipity swoops in and guides you intuitively. There's room for it all, but who do you talk to about this stuff? (Hint: A neutral guide asking you quality questions may be helpful, perhaps even more than family and friends.) I felt uniquely qualified to offer my perspective because I consciously engaged in that inquiry relatively recently, made a huge cross-country move, and have been relaunching my life and career in my new home. When asked by Professor Gloor, "What advice, from any lens you choose, do you have for our students?" I shared something I only recently came to understand, one that I wish I knew as a young music professional: Career is just one aspect of life. Your personal goals and aspirations regarding lifestyle are equally important (i.e. buying a house, being close to family, nature, quality of life, etc). My career coach, Ford R. Myers, taught me, "It’s Not About The Job; It’s About Your Life," which has made a huge difference in my career approach in my new city. My “mini commencement speech” included several more poignant points on being very honest with yourself about who you are and what you want, taking care of your mental health, and doing the inner work it takes to develop the resilience you need to go into (or stay in) the music business. VIDEO: What I Wish I Knew as a Young Music Professional Improving the quality of life for artists and other music industry professionals is something about which I am deeply passionate. There are so many interpersonal and business skills needed to survive and thrive in this relationship-based industry that simply are not taught frequently enough. All of this fuels my own advocacy, engagement, and career motivation at this point. I'm grateful to know about and join a much larger network of passionate individuals involved in music cities/music ecosystems on a global scale. With all the data now showing the positive impact and economic viability of artists and music industry professionals, let's make sure empowerment, career development, and personal wellness is baked into the entire music ecosystem. |
AuthorCheri Jamison is an Arts Consultant with over 13 years of experience in arts and nonprofit management. Cheri Jamison Consulting LLC focuses on strengthening organizations through capacity-building, executive coaching, board training, and professional development. www.CheriJamison.com Categories
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