On the Road - Presenters Handbook

NOW PRESENTING…

Count On Your Tastes

How do I decide what to book?  How do I know if they are “good”?  These are common questions for presenters but don’t feel you have to be an expert in every art form in order to be able to decide what to book into your community.   It is safe to assume that something you enjoyed will be enjoyable to others. 

 Community Presenting: Managing a Risky Business

Healthy communities enjoy growing together, and they enjoy participating in events that foster a sense of shared purpose.  Public presenting addresses this human desire.  The successful presenter is equal parts bold and cautious.
Michael Green, One Yellow Rabbit / High Performance Rodeo
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And…Expand Your Horizons

While trusting your judgment, realize that you are not programming for your taste alone.  Seek out some things that are new and different and that might appeal to someone younger or older or of a different cultural background than your own. 

 A Festival Producer’s Perspective on Series and Festivals

The festival atmosphere is often casual, comfortable and friendly, and it serves as a good introduction to the performing arts for a new audience attendee. 
Phyllis Stenson, Harrison Festival Society
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Take risks 

To engage a broad cross-section of audiences from your community, you need to take some risks. 

 Introducing Risk in Your Programming

When we talk about introducing risk, we mean the kind of risk you would take if you were gambling – taking an action in the hope, but not the certainty, of achieving a favourable outcome.  In this case, the favourable outcome is that audiences will like what they see and want more of it, and that as a programmer you will be able to expand your ability to program work that you love.
Barbara Clausen, New Performance Works
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Do Your Homework

Artists will be able to tell you about performances they have done in other communities, including ones that are similar to yours.  They can give you references from other presenters, and you can talk to them about the artist, his or her impact on the audience and the community’s participation in the performance.  Artists will likely have promotional tools, such as CD recordings, videos or DVDs that you can arrange to show to other people in the community to get their feedback on the performance. 

Look For Variety

Most presenters elect to program for a full season of events all at once.  Generally, the series begins in the fall and continues through late spring.  Whether you choose to do three or four events a year or a dozen or more, consider carefully how different artists will combine into a program.  Maybe you want every show to appeal to the same type of people; more likely, you are hoping to bring a lot of different people to your shows.  Since not everyone enjoys the same experiences, variety is important.

 Diversified Programming – The Balance Between the Known and the Unknown

Since the general public is made up of different kinds of people, it goes without saying that their tastes in the living arts also vary.
Solange Morisette, ROSEQ
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Or…Look For Coherence

Many presenters bundle their shows and sell them at the beginning of the season as a subscription package. If you are making a subscription you will look at things a little differently.  For example, if you are booking a children’s artist who specifically appeals to pre-schoolers, it will limit the subscription series’ appeal if you attach this artist to a group specializing in 1940s jazz standards that appeal mainly to senior citizens. And although some of those seniors might have grandchildren, combining such specific and diverse audience groups will limit your subscription’s appeal.

 Cultural Sensitivity

Canada is home to almost four million individuals identifying themselves as visible minorities.  To be relevant as a presenter and to reflect the needs in your region or community, consider this....
Janet Lumb, Festival Accès Asie
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