Posted by Cecile Lucas, February 9th, 2017
Our Producer Rachael Whitworth has just returned from a trip to the US, concluding her engagement with the ISPA Australia Council Legacy Program. She attended the ISPA Congress in New York, and the International Performing Arts for Youth Showcase in Wisconsin. Too excited to hear all about it, Cecile did not leave her time to catch her breath, and quizzed her on the international experience.
Cecile: You’ve recently attended the International Performing Arts for Youth (IPAY) Showcase in Wisconsin, as well as the International Society for Performing Arts (ISPA) Congress in New York. Can you tell us a bit about each?
Rachael: I have been an ISPA Australia Council fellow for the past four years. This has been an amazing opportunity to be a part of the global fellows program which fosters emerging and mid-career arts workers from around the world. The fellows come together for a day before the official congress and it is always my favourite part of the program. It provides insight and understanding of arts practice from around the globe and makes me feel very lucky to be living and working in Australia. Some of the fellows literally risk their lives in their quest to create and distribute art in their home countries.
There is a strong focus on leadership at ISPA: how can we make arts relevant to our communities and continue a legacy of the arts as a mechanism for inclusion and change? This year, the theme was ‘Currents of Change: Arts, Power + Politics’. This focal point was intensified by the state of politics around the world and sharpened the lens on the need for the Arts to provide a voice for those who are being silenced whilst offering insight and a different way of thinking for others.
IPAY is a market and showcase for theatre created for young people. This is a smaller gathering of about 200 people and everyone is extremely friendly and open! The program literally runs from 9am to 11pm every day, with full shows presented, break-out discussions around particular topics, 15 minute pitch sessions and an exhibition hall for meetings. It was pretty exhausting as the four-day showcase was packed but I met a lot of presenters and saw plenty of international work, both good and bad.
What have you found the benefit of these sorts of event to be for the artists you’re working with and for you as a producer?
ISPA is a professional development opportunity for me as a Producer. I have dramatically expanded my international network and have a better picture of how the arts industry operates in different countries around the world. Many of the people I have formed relationships with I may never work directly but certainly some of this network may lead to opportunities for artists. Indeed, we’ve a couple of exciting presentation opportunities in the pipeline….
Travelling to both ISPA and IPAY also provides exposure to a lot of performances that helps to benchmark arts practice in Australia. And so, this benefits artists that we work with at Performing Lines WA as I have a context for what is happening in performance practice around the world and how the work made in Western Australia may or may not fit in different markets.
Did you see any shows that were amazing?
There are lots of festivals happening in NY in January and I try to see as many shows as I can. You might expect everything you see internationally to be amazing when in fact, there is an equal amount of good and bad everywhere. I saw an amazing dance work for young people And then… by Claire Parsons Co (Sweden), The Polar Bears Go up by Fish and Game (UK) and Shh! We have a plan by Cahoots (Northern Ireland) at IPAY.
My favourite shows in NY were part of COIL Festival by PS122: Forced Entertainment’s Real Magic was incredible – it repeated a 10 minute section of a reality show over and over for 90 mins; and A Study on Effort by Bobbi Jene Smith, an intense dance work with a live violinist.
A Study on Effort by Bobbi Jene Smith
How does Australian work you’ve seen compare to the sorts of shows presented at these markets?
The good news is the Australian shows at both conferences were awesome, and some of the best in the program! Nicola Gunn’s Piece for Person and Ghetto Blaster (produced by Performing Lines) and Antony Hamilton’s MEETING were standouts at COIL Festival, and Slingsby Theatre’s The Young King won the Victor Award for best show at IPAY as voted by attendees.
I think the standard of Australian work is very high. Much of the best work I saw, particularly in NY, has something very important to say about the world. Whenever I return to Australia, I always have a refreshed sense of making sure we work on projects that not only have artistic rigour but also a clear focus on what the work is trying to say or reflect about our society today.
So imagine I’m a producer from a small-to-medium and/or an independent artist. What advice would you give to me if I’m considering attending a big arts market like these, PAX or APAM?
If you can, I highly recommend attending before you go with something to sell. It’s a chance to meet people, see how other artists and companies represent their shows, and get a feel for how it all works.
If you are wanting your work to tour, you need to have that in your mind from the outset and create the work to be nimble and tourable. That doesn’t necessarily mean small, or cheap-looking, or that its fits into a suitcase, but that it’s smart and made with an eye to how it will pack up and hit the road. Australian work is very expensive to get anywhere, so really consider the set and your cast and touring party size. Good images and interesting description of the work is important in getting people to engage with your idea and form, in what is often, a very competitive and tiring environment.
I think it is always best for presenters to actually see work live which I know is not always possible at these markets. If you know why you have made the work and who you made it for, you can quickly and succinctly direct your work to the presenters who are actually interested.
Got other questions about pitching your work? We can help. Have a chat with Rachael, Fiona or Thom. Shoot us an email at email@example.com
Stay tuned for our rundown of upcoming arts markets, and for Thom’s Top Tips for preparing tour marketing materials.