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Producers par Mind Map: Producers

1. New works

1.1. Audience

1.1.1. Cultivate audience for future, not the present

1.1.2. need to learn how to access/collect data, and how to use the data

1.1.3. special cross overs attract completely new audience groups

1.1.4. Quantity vs quality of audiences Authenticity low numbers does not necessary mean unsuccessful product

1.2. Communicaitons

1.2.1. Improve communication doesnt mean to cheapen the product, but to correctly reach the right (new or otherwise) audiences

1.2.2. direct connections with audience China, HK lacks

1.2.3. Marketing led productions vs using markeitng as a tool

1.3. higher risk

1.4. smaller venues

1.4.1. Macau : audience shift to weekday performances

1.5. longer runs

2. impact

2.1. idendify assets

2.1.1. understanding

2.2. 'Zen' it

2.2.1. resource requirements

2.3. collect and share current assets

2.4. Implement

2.5. Improve returns

2.5.1. multiplier

2.5.2. Leverage secondary consumption

2.6. image

2.7. image

3. Project team

3.1. Conduct retreats to enforce artistic idea between the team

3.2. Continue to return to the principles throughout the projects / institute

3.3. Value the arts

4. creative producer

4.1. Term

4.1.1. contextual, changes all the time term is just to link with other sectors in china there is no such term taiwan, artists produce own work unclear

4.1.2. in tv film bring $ whole project lead

4.1.3. in PA below director/artist

4.2. Role

4.2.1. collaborator Creative How, while artist is the what survival Strategic who initiatives a project like a social worker can be powerful cheerleader

4.2.2. administrator service, find way to lead group to finish Doer, do everything

4.2.3. in an institution not final decision maker part of the decision making process power handler dont need to do all the work

4.3. Skills

4.3.1. knowledge impact supplement artists skillset markets society across seasons audience vision art

4.3.2. balance be aggressive where necessary art project management risk art making is risk balance art reduce and manage risk

4.3.3. construction relationships marriages credibility select the correct partners

4.3.4. Adminstration delivery , time management

4.3.5. listener caretaker not just project related

4.4. Image

4.5. image

5. Independent Producer

5.1. Untitled

5.2. Untitled

5.3. State of mind

6. Challenges

6.1. Resources

6.1.1. Financial Evaluation financial R&D outcome

6.1.2. lead time Lack of time

6.2. Sustainability

6.2.1. success => touring -> lack of time = > no more new creation => boredom cycle

6.2.2. designers

6.2.3. cannot maintain shows because cast dispersed

6.3. Team members

6.3.1. Right team members

6.3.2. artistic language

6.3.3. Finding the right team members

6.4. Cultural / political contexts

6.4.1. Policies China censorship Government policy drivers

6.4.2. Ethics

6.4.3. Balancing the identity of artists, institutions and projects

6.4.4. Balancing artists and audience Promotion to find correct audience

6.5. Image

7. Development oppertunuties

7.1. Funding

7.1.1. Mobility funds

7.1.2. Crowdfunding

7.2. Private sector

7.2.1. Commercial work

7.2.2. Property developers

7.3. Networking

7.3.1. Residency / exchange programmes

7.3.2. Reach out to other sectors

7.3.3. Artists Education artists

7.4. Institutions

7.4.1. ACC

7.4.2. PAA

7.5. Cities

7.5.1. Hong Kong HAB LCSD Creative producers platform Public advocacy WKCDA

7.6. Image

7.7. Image

8. Lobbying

8.1. Government departments

8.1.1. aduience

8.1.2. funding issues

8.2. Information access

8.2.1. What database of funders directory of veneus

8.2.2. Who HK Macau casinos venueowners

8.3. Existing institutions

8.3.1. Artistree

8.4. media

8.5. Own board

8.6. Artists

9. Festivals

9.1. role

9.1.1. present things that cannot be presented in other contexts

9.1.2. engage local community bringing community together support the ecology it is in relevant socially and aesthetically long term capacity building of youth community

9.1.3. process - nurturing discovery artists supporting artists as a matchmaker producers audiences Ritual

9.1.4. Building resources

9.2. Oppertunities

9.2.1. Workshop festival consumer/presentor relationahip

9.2.2. two year cycle: first year is exploration, second year is presentation

9.2.3. extend close relationships with producers to become part of the team

9.2.4. programme sharing between festivals

9.2.5. build relationship with artist over years

9.2.6. 'red packet theatre' caberet

9.2.7. producers mentoring young artists

9.2.8. co-production

9.2.9. extend collaboration with other sectors

9.3. resources

9.3.1. programme according to resources not all festivals need to do big presentations

9.3.2. connect with and leverage social needs

9.3.3. spaces alternative spaces

9.3.4. locations scattered concentrated

9.3.5. critical discourse

10. Short term, Long term

10.1. Magazine

10.2. Use down time (e.g. summer in macau) to organise networking

10.3. improving dialogue

10.4. Job swap

10.5. online magazine

10.6. Producers holiday

10.7. understand producers as a person

10.8. new work platform

10.9. Ref: Directors lab @ Lincoln Center

10.10. Piggy back on existing trips or leisure trips to take on agency role

10.11. Producers Network

10.11.1. rethinking about meaning of producers

10.11.2. Challenge status quo

10.11.3. keep same group Deeper relationships

10.11.4. Solid case studies

10.11.5. producers research about other producers

10.11.6. mapping tracking development relationships between producers and artists

11. References

11.1. sadler wells new wave associates programme

11.2. China residencies .com