I’ve just had a look at the latest Swingnation video podcast, because a friend said I was on it. Yes, this was a vanity watch.
It’s kind of interesting, but I think I’d have liked to hear a bit more engagement with the issue from the three blokes, as they have such wide-reaching experience as teachers, punters and organisers. I’m glad Mike Pedroza said he has a written document setting out his teaching terms: I LOVE LOVE LOVE teachers who have these. And I have very little patience with the ones who don’t, but who do have a long list of preferences RE food, or teaching hours, or airlines.
Teachers: GET A GODDAM LIST OF TERMS.
I’m also not sure Mikey understood the point of my post: this was just a brief overview of some of the areas I’ve been working on. It should not – AT ALL – be considered a comprehensive overview of setting up a dance business! But I will disagree with Mikey: this stuff isn’t very complicated. It’s just quite laborious. But if you’re not prepared to do a little work, you probably shouldn’t be setting up a business.
I also want to make it clear that there’s a difference between a legally binding contract and a written agreement. And there are also differences between Australian states, let alone different countries, so this post of mine shouldn’t really be considered a guide for setting up a dance business in America or France or anywhere other than New South Wales, Australia.
Here, mind you, a written agreement does have legally binding ramifications. It is, essentially, a type of contract. But the strength of this contract can vary, and your lawyer’s knowledge of Australian (NSW!) arts law will be key to determining how you write, discuss, and enforce this sort of contract. Which is why I recommended the NSW Arts Law Centre for Sydney people – they can give you advice about lawyers and contracts, and they provide samples for written agreements.
That Swing Nation ep reminded me of this great video of Shawn Lavelle discussing budgets for big dance events, which I watched when someone like Jerry posted it on Wandering and Pondering. There was some interesting discussion happening there, but I can’t remember any of it, nor can I find the link. Mostly because I’m sitting in someone’s lounge room on stolen wifi waiting for a ride to my next accommodation for MLX, at the end of the week after Sea of Rhythm. I’m also listening to loud jazz on headphones, sniffing some lovely vegan muffins baking, and carrying on half a conversation.
So, here: no coherent thoughts.
Anyways, I thought Shawn’s talk about budgets was really great. I’d been meaning to make a post covering those sorts of issues ages ago, but I’d just not ever gotten around to it. Mad props, bro.
I think that more people should run dance events. I really wish they would!
My original post was partly to make it clear to people that you have all the skills and experience you need to set up as a sole trader to run your own dance class, DJing business, or performance troupe. I think that a lot of dancers get into tricky or exploitative professional relationships because they don’t feel they are clever enough or experienced enough to set up their own legit business.
I am here to tell you: you are.
You don’t have to get involved with dodgy deals to become a jazz dance performer, teacher, DJ, or event organiser. You can exploit yourself!