Aboriginal Presenters Handbook MUSIC EVENTS A guide to bringing music to your community

Transcription

1 MUSIC EVENTS A guide to bringing music to

2 Have you ever thought of bringing a live music event to? When we come together to hear, sing, or share music, we are continuing traditions long past, and we are inspiring and preserving that sense of community. For me, music is life. It is an expression of my soul, and when I sing, I am sharing that. Candace Twance (Sea Ballast), Ojibway Musician/Visual Artist Singer Candace Twance, who performs under the name Sea Ballast. (Photo: Nadya Kwandibens) Music has always been an integral part of Aboriginal expression. Whether it is drumming, traditional fiddle music or live hip-hop, music can reinforce the principles of respect, teamwork and discipline. From youths to elders, live music events in communities can entertain, engage and inspire. This guide was created to help you make a live music event happen in. It is a part of a new pilot by the Aboriginal Arts office at the Ontario Arts Council called the Aboriginal Music Presenters initiative. This three-year pilot initiative ( ) was created to support Aboriginal people in bringing live music events into their northern Ontario communities. Support is available in the form of grants for live music events in Aboriginal communities in northern Ontario. For more information, please visit the Aboriginal Arts page on the Ontario Arts Council website. This guide can also take you step by step through the process of organizing and presenting a music event in. Whether this is your first music event or you have been doing them for years, this guide contains lots of tips and helpful information about what it takes to present a great live music event from booking the musicians to finding a venue. Please keep in mind that this guide was created to address many different aspects to planning a music event. Some of the information may not apply to you. If you have questions at any point in this process, we strongly encourage you to contact our Aboriginal Arts office at the Ontario Arts Council at , ext or ext

3 What is a music presenter? A music presenter is anyone who is up to the challenge of putting on a live music event or concert in his or her community. In the music industry, presenters are sometimes referred to as concert promoters. However, in communities, presenters are usually a committed group of community volunteers. For the purposes of this initiative, music presenters are defined as those who: l plan and organize public music events in or near their community; l select and contract artists/groups for a music event or concert; l pay a guaranteed fee to the hired artists/groups; l develop and articulate a rationale for their programming choices (i.e., you can explain why you chose the selected artists/groups); l book the venue and supply technical support for the event; l get the community to come out to the event. Presenters may be individuals, collectives (groups) or organizations. A collective is a group of people who take on an arts activity together. Unlike an organization, a collective or group is not incorporated. They may come together for a one-time-only project or for ongoing projects. Artists/groups are the performers at your event. They can be solo musicians, bands, performing groups, drum groups, ensembles, composers, hip-hop artists, storytellers and spoken-word artists. Raven Kanatakta, Derek Miller and ShoShona Kish perform during Aboriginal Music Week in Winnipeg, Manitoba. (Photo: Nadya Kwandibens) 2

4 Who is going to play at your event? One of the key tasks that you will have to do as a music presenter is to decide who will play at your event this is the programming process. Programming can be done by an individual or by a group of people. Within an organization, this can be the responsibility of one or two people or a group, sometimes referred to as a programming committee. The process of confirming artists for your event will likely be the biggest challenge involved in planning your event. It involves several steps: l finding potential artists/groups, l selecting artists/groups, l checking if your selected artists/groups are available and affordable for you, l negotiating the contract, l booking the artists/groups and signing the contract with the artists/groups. Finding Artists/Groups Finding artists/groups to play at your event is a process of discovery. You may already be familiar with the artists/groups that you would like to bring in or you might be about to start the search. One of the first steps is to research performers. This involves coming up with a list of names of potential performers and finding a way to listen to their music and gather samples of their music. Below are ways to discover artists/groups and music: l See live music! Attend music festivals or concerts in your area. If you are travelling or on vacation, see as many shows as possible. Pick up CDs at shows and along the way. l Go online. Research artists who have appeared in a community nearby or at events or awards shows that interest you. Many performers have music samples and profiles on MySpace or on other sites online. l Get recommendations from another presenter or trusted source. Ask for tips from another presenter to find out how they find artists or if they have samples to share. l Attend a music showcase such as Ontario Contact ( or the Ontario Council of Folk Festivals showcase ( The Ontario Arts Council provides funding for presenters to attend Ontario Contact. l Survey your potential audience. This could be as simple as posting a question on s Facebook page to find out more about the artists that are of interest to. l Get music samples. Ask artists to send you their CD, provide a link to their music or samples. If an artist has representation (i.e., an agent or manager), contact the agency to obtain music samples. l Still want more info? Consider asking for a press kit, which is a promotional package that the artist or their agent might also have available to send. 3

5 Angus Jourdain performs at the Good Life for Young People concert in Morson, Ontario. (Photo: Nadya Kwandibens) Contacting Artists/Groups At some point in the process of confirming artists/groups, you will need to contact them. This may be at an early stage, when you are looking to obtain music samples, or it may be at a later stage, when you are ready to book an artist. Often these steps include quite a bit of back-and-forth communication. When you are ready to connect with potential artists, you will need to determine who to contact: the artist or their representation. Some artists handle bookings themselves, but many artists/groups have representation agents or managers who handle all of the bookings for the artist. If an artist has an agent, it is usually best to send any inquiries through the agent. To contact an artist about playing an event, look for the contact information that is listed on his or her CD or website. There is usually a contact number and/or listed for bookings, and this is the contact info that you will want to use. Your inquiry may be to the artist themselves or to an agent. Selecting Artists/Groups You have done your research, you have listened to some music samples and you are now ready to make some choices. A good place to start is by asking yourself what your goals are for this event. When making programming choices, some important factors to consider are the quality of the performance, your audience and whether or not the artist is available and affordable for your event. The best way to determine the quality of a performance is to see it live. If this isn t an option, you can evaluate the artist/group from the music samples and CDs that you have gathered. Also, knowing your audience is very important when deciding who will play the show. Below is a list of questions that you can ask yourself when considering an artist/group. 4

6 Questions related to quality: l What is the artist/group s live performance like? l What is my own personal response to this artist/group s music? l What are the reviews of this artist/group? l What is the experience-level of the artist/group? Where has this artist/group performed before and how did it go? l Would this artist/group be regarded as professional artist(s) by members of my community? Questions related to audience: l Do I have an idea of how much interest there might be in a music event? l Do I know my target audience? l Who am I trying to reach with this event (i.e., is it geared toward children, youth, family or adults)? If so, what kind of music might appeal to that audience? l Do I plan to focus on one genre of music (e.g., rock, hip-hop, traditional) or more than one? l Has an event like this been presented in my community before? If so, have I talked to the organizers? How did the audience respond? l Are there any issues such as controversial positions, adult subject matter or strong language in my selected artist s material or performance that I should be aware of? l What venues are available to me and how could this affect my programming choices? For example, a concert at a bar will appeal to and be limited to a different audience than one at a school or community centre. Is the Artist Available and Affordable for You? You have now determined the artists/groups that you are interested in. At this stage, it is a good idea to find out whether or not the artists/groups you have selected are in your price range and available to come to. You may need to contact the artists or their representation in order to answer these questions, even if you are not ready to book them. Booking an artist is a term that refers to confirming him or her. Questions to ask an artist/group include: l Is the artist/group available for the dates I have in mind for my event? l Is this artist/group s fee range affordable? Are they able to travel to my community for the fee that I am able to provide?* l Can I meet the technical requirements for the artist/group in the venues that are available to me? For example, a school gym may not be set up to handle a large performing ensemble. Find out from the artist/group what their requirements are.** *Please also see Step 5 How Do You Handle the Finances for Your Event? on page 13 for more information on budgets and finances. **Please also see Step 4 What Are the Equipment and Technical Needs of Your Event? on page 11 for more information on all things technical. Checking availability means contacting the artists/groups to see when they are available but not necessarily booking them. 5

7 Sometimes you may determine the event date based on when the artists/groups are available to perform, and in other cases your date may be firm. Therefore, at the point when you are ready to check the artists/groups availability, you may be open-ended and checking their availability for a series of dates (i.e., what weekends is the artist/group available in the month of May?) or for one date only. Checking availability is not necessarily a booking make sure that you clarify when you are ready to book (confirm) the artist/group. Booking the Artists/Groups The Negotiation Process The artist/group is available and you are ready to book them to perform in your community. It is time to negotiate an agreement. The negotiation is a conversation between you and the artist/group, or their representation, in order to work out all of the details of the performance. Often, the focus of the negotiation is around the fee what you will pay the artist/group to perform at your event. To start the negotiation, it is usually simpler to ask the artist/group what their fee is to perform (the asking fee ). In fact, you may have already found out the artist/group s fee range at the stage when you were checking their availability. Always clarify whether or not the asking fee includes the costs of transportation, accommodation and hospitality (i.e., getting them to your event, putting them up and feeding them). Once you know the artist/group s asking fee, you have three choices: 1. Accept the fee and book the artist/group. In order to make this choice, you need to determine whether or not you can afford the fee. For example, if your budget for the entire event is $3,000 and the artist s fee to perform is $2,500, that means you would only have $500 left to pay for the event, which will likely not be enough. However, if the artist s fee is $1,500, then the $1,500 left over may be enough to pay for your other costs, such as venue rental and promotion. (More detail on booking follows.) 2. If you can t afford the fee, go back to the artist/group with a counter-offer based on what you can afford. This means that you offer a fee that is affordable for you and lower than the initial asking fee. 3. Finally, if the asking fee seems completely out of reach for your budget, you may determine that this artist/group is not affordable for your event. If you are dealing with an agency that represents numerous artists and acts, you can always ask who on their roster may be available at the fee range that you have to offer. If you have been corresponding with an artist/group or their agent and have decided not to book the artist/group, make sure you contact them one last time to thank them. If you agree to the artist fee at this point, then it is time to make an offer. An offer is simply communicating what you can provide to the artist/group for performing at your event. In order to determine what you can offer, you should consider the following: l Does the fee include travel, accommodation, etc?* l How many people are travelling with the artist or in the band? l Will the artist be travelling by air, train, bus or car? 6

8 l What is the artist/group s arrival time in town and for load-in and sound check? l What kind of hotel/accommodation will be provided? l Will meals be included? (Sometimes artists/groups get a per diem in addition to their fee; other times you may offer them meals, whether home-cooked or at a restaurant.) l Are there any additional hospitality requirements (i.e., refreshments and food made available backstage)? l What are the technical requirements for the artist to perform? (You will use this information to coordinate with any of your technical personnel.) *Presenters often provide accommodation (a place to stay) and meals. You may also offer transportation, but this is not an obligation, and many artists/groups will look after getting themselves to your event. The important thing is to clarify all of these points so that there are no surprises. What kind of accommodation will they be staying in? Are you offering home-cooked meals at someone s house or meals paid for in a restaurant? Are these costs a part of the fee you are offering or additional things that you will cover? A lot of your correspondence can be done by , but at a certain point it may also be helpful to touch base over the phone. Once you have made the offer (either on the phone or by ) and all of the points have been agreed to, that means that your offer has been accepted. You will need a record of all of the points (either your written notes or correspondence), as this will form the basis of the contract. If you are dealing with an agency, they will likely send you a contract. Otherwise, it will be up to you, as the presenter, to get a contract in place. n Load-in means the time you have arranged for the musicians to bring and unload their equipment. n The sound check is a rehearsal before the live event to determine the correct settings for the show. Youth workshop at the John R. Delaney Youth Centre in Moosonee, Ontario. (Photo: Nadya Kwandibens) 7

9 Getting It All in Writing The Contract The contract is the written document that details what has been agreed to. The contract may be simple, such as a signed offer, or it may be a separate detailed document. Contract Checklist l Are both parties (you and the artist/group) clearly named with contact information? l Is the length of the performance noted? l Is the date, time and place of the performance clearly specified? l Are the load-in, set-up and sound check times noted? l Is the fee and fee payment schedule clearly indicated? l Is a deposit required? l Does the contract clarify who is providing the equipment? l Are any additional band members/supporting artists included if needed? l Are the technical requirements clearly indicated? l Will a private backstage space be provided? l Have cell phone numbers for both you and the artist been provided (to reach each other on the day of the event)? l Is the technical support indicated (i.e., the number of technical personnel needed)? l Can you or the artist/group cancel this agreement and under what conditions can this be done? (This is called a termination clause. ) l What are the transportation, accommodation and meal requirements? l Do any of the artists have allergies to food, pets, other? l Have you signed and kept a copy of the contract? Shkinwewin performs at the Native Canadian Centre of Toronto during the imaginenative Film + Media Arts Festival. (Photo: Nadya Kwandibens) 8

10 If there is a clause or section in the contract that you do not understand, do not sign the contract. Contracts are legal documents, so it is very important to understand what the contract means. When you receive a contract, it is absolutely okay to make changes to certain items in it. You can either ask that changes be made before you sign it, or you can cross out certain sentences, initial the change that you have made and send the contract back. You may also receive additional documents with the contract. One attachment, called a rider, might have additional details (e.g., refreshments and food are to be provided to the artist/group backstage) that were not discussed during the negotiations. These documents are usually standard, and if you can t provide what the artist/group or agent is asking for, again, you can cross off the item, initial it and send the contract back with your signature. Another attachment that may come with the contract is a stage plot. This clearly outlines what the artist/group s technical requirements are (i.e., how many mics and monitors need to be set up). For more information on technical requirements and stage plots, please see Step 4: What Are the Equipment and Technical Needs for Your Event? on page 11. Once the contract is signed, you will have completed a major step in presenting your event! View a sample contract at the end of this guide, included as Attachment #1. When will your event take place? You should give yourself at least 3 to 5 months to plan and prepare your event. If your funding has not been confirmed, you may need even longer depending on what the funding deadlines are. To determine your event date, consider the following questions: l Do I have a certain season in mind for presenting this event? l What other events may be happening in my community during that season or on that date? l When are the suitable venues available? l When are the artists/groups available?* *Please also see the previous section Is the Artist Available and Affordable for You? on page 5 for more information about how to determine when an artist/group is available. 9

11 Aboriginal Music Week in Winnipeg, MB. (Photo: Nadya Kwandibens) Where will your event take place? Music events can be presented in a number of different venues, such as community halls, band council halls, arenas, concert halls, friendship centres, schools, bars, houses and at outdoor venues such as parks, yards, squares and schoolyards. In order to determine what venue is right for your performance you can consider: l Will my event take place indoors or outdoors? l Is the venue suitable for the audience that I hope to attract? l Is the venue available for my dates? l Does the venue handle ticket sales? l What is the size of the venue? Does it seem right for the number of people that I m expecting? l Where is the venue located? Is it known in the community, accessible and easy for my audience to find and get to? l Is the venue already set up for music presentations? Does the venue already have systems and equipment (i.e., lights and sound) and technical capacity and personnel (i.e., someone to run the lights and sound)?* l Does the venue have a load-in door for the artists gear? l How much does the venue cost? Is it possible to get this venue for free? l Is insurance needed or will it provided by the venue? l What facilities does the venue have (i.e., washrooms, canteen area, private backstage space)? The venue may draw up a written contract outlining what their fee is and what they are able to provide. *Please also see Step 4 What Are the Equipment and Technical Needs for Your Event? on page

12 What are the equipment and technical needs for your event? The artists/groups and the venue are now booked! Now the question is, How do I put on a great show? Many people might immediately think that the success of the event is based on how many people turn up. While that is partly true, the quality of the presentation is just as important not only for the audience s experience of seeing the show, but it is also a way to show respect for the artists/groups that you have invited into. A good-quality presentation means that you have the right set-up, good-quality equipment and knowledgeable technical people in place to make the show look and, especially, sound great. As a presenter, you are responsible for ensuring that all of the equipment and technical needs for the event are met. For example, if your dream is to present music in the middle of a field, just remember that you will be responsible for bringing in and setting everything up from the stage and sound system to facilities such as on-site public washrooms. You will also have to ensure the safety of the site and find and hire technical people. In addition, you will be at the mercy of the weather and will need a solid plan B. It may be easier to work with a venue that is already set up for music presentations. Some venues may already have a stage, sound system, lighting system and can even provide their own in-house technicians to assist with the technical presentation of the event. However, it may also mean that the venue will charge more. Find out what the venue can offer in terms of facilities, technicians and equipment and what costs are involved. If you do end up hiring a technical person to run the lights and sound for your event, the main thing is to get someone who knows what they are doing. This may be a professional working for a company, or it could be someone in your community with professional sound experience who knows how to run the technical side of an event. Electric Pow Wow event during Aboriginal Music Week in Winnipeg, Manitoba. (Photo: Nadya Kwandibens) 11

13 Below is a checklist of things to consider: l What are the technical requirements of my event? (This is what you will have found out from the artists/groups when they were booked.) l Have I given the technical requirements to the venue to review? l What instruments are the artists/groups bringing themselves? What do I need to provide or rent? l Where can I rent or source good-quality equipment in my community? Is there anything that needs to be brought in and how long will that take? l What needs to be installed at the venue? l Have I determined a time for load-in, sound check and load-out after the show (this is also referred to as the event logistics )? Do I have enough crew booked to handle everything? l What kind of sound system is needed for the space that I am using? Is the venue providing a system and, if so, have I heard what it actually sounds like in the space? l Who will be the sound technician during the event? Is this the same person who is available for the sound check? l Will there be lighting and who will operate it? l Do the artists/groups need a table set up to sell their merchandise (i.e., CDs, T-shirts)? In addition to the artists/groups, the technician has to be present at the sound check. A sound check should be done before any members of the public have arrived for the event. For the sound check, everything that is needed for the event should be installed and ready to go this is not the time to discover that you need five more monitors. Even if the venue is fulfilling most of your technical needs, you will still have to act as the point-person between the artists/groups and the venue. It will be up to you to communicate all logistical and technical requirements. If you have received a copy of the stage plot with the contract, make sure you have given the venue or your technical people a copy of it. n Stage plot is a map of the stage that lays out exactly how the artist or group needs the stage set up. It includes how many microphones, DIs (a connector box for instruments) and monitors are needed on stage. It also includes what the artist/group needs in terms of backline. n Backline is the audio amplification system that stands behind a band on stage. In smaller communities, a backline will be difficult to source, so it will be important to clarify with the artists/groups whether or not you can provide it and, if not, if there will be additional costs involved in shipping equipment. If you did not receive a stage plot, just ask the artist/group what they need. Feel free at any time to go back to the artist/group or agent and clarify everything that you need to provide and set up. 12

14 How do you handle the finances for your event? Dealing with the finances is not actually one of the final steps in this process; it will be ongoing from the very beginning to the very end. In order to track finances for your event, you will need to create a budget. A budget can be a very simple document that includes all of the money that is coming in ( revenues ) and all of the money being spent ( expenses ). n To view a budget template, please see the Ontario Arts Council s Aboriginal Music Presenters Application Form: Your first step is to create a draft budget based on what you estimate things will cost. As you begin the process of finding out what the costs will actually be (by asking the artist/group about their fee, finding out the cost of the venue, looking into how much printing costs, etc), your budget will become more accurate and more detailed. You will use it as a tool to determine what you can afford. For example, if you have $500 in your budget for the venue and the venue comes back with a quote of $1,000, you will need to either find another venue, find out if they can give you a discount or find $500 in savings in another section of the budget to make it all balance. Expenses It is easier to start a budget by considering what the costs ( expenses ) are. Below are examples of expenses to add to your budget: 1. Artist/group fees l What is the artist/group s asking fee? Or, what did I agree to pay the artist/group for performing? l What hospitality am I expected to provide (i.e., cost of backstage catering, local transportation)? 2. Artist/group travel l Does the artist/group s fee include transportation, accommodation and meals? l If not, what will it cost? 3. Venue l Am I paying the venue a flat fee? l Does the venue cost include any technical or security personnel or is that a separate fee? l Is the venue asking for a percentage of the ticket sales? l Is the venue free? 4. Equipment Rental l What lights, sound or musical instruments do I need to rent? 13

15 5. Technicians l How much does the sound technician cost? Is the venue including this in the rental price? l How much does it cost to hire additional crew (for load-in, load-out, set-up, etc.)? 6. Promotion l What are my printing costs for posters and flyers? l Do I plan to buy any ads? If so, how much will this cost? 7. Presenter fees and administrative costs l Are there any administrative costs that I will need to be reimbursed for, such as phone calls, transportation, printing, shipping or mailing? l Am I getting paid on honorarium as the presenter of the event? 8. Other l Are there any additional costs that may not fit into the other categories? This may include payments to SOCAN. SOCAN Any public use (including live performances) of copyrighted music requires that a license fee be paid to SOCAN, the Society of Composers, Authors and Music Publishers of Canada. SOCAN collects fees on behalf of artists who wrote or composed songs or music, and it is usually the responsibility of the presenter to pay these fees. Fees do not have to be paid for music that is not copyrighted (an example would include certain types of traditional music). It is best to contact SOCAN directly to find out what the costs may be in order to account for these expenses in your budget. For more information on SOCAN: licence@socan.ca The Imbayakunas at the Ode'min Giizis Festival in Peterborough, Ontario (Photo: Elizabeth Thipphawong) 14

16 Revenues Once you have determined how much everything is going to cost, you will have a much better idea of how much money you need to raise. Try to be realistic. If you have limited revenue sources, then you may have to reduce your spending (which means revising the expenses items in your budget). Below are examples of revenues to add to your budget: 1. Ticket sales l Are you charging an admission price? If so, how much? l Where are tickets being sold? Are you selling them in advance? l How many people do you expect to come? (Don t overestimate; try to be cautious.) 2. Grant request l If you are applying to the Ontario Arts Council s Aboriginal Music Presenters initiative, this is the amount that you are requesting from the OAC. This initiative awards a maximum of $3,000 for a live music event. 3. Other l Do you plan to sell food and drinks? l Are there any additional revenue sources that may not fit into the other categories? Advance ticket sales This is when you offer a discount for tickets if people buy tickets in advance. Advance tickets are cheaper as an incentive for people to buy them because it is guaranteed revenue for your event, no matter how many people come out. It is also a great way to determine whether or not the word is getting out about your event and how much work you have left to do in order to promote the event. Sponsorship A great way to involve others in the community is to consider approaching businesses for sponsorship. Sponsorship means that a company gives you something for free that has value (e.g., a venue could sponsor your event by giving you free space or the media could sponsor you by giving you free ads). In return for their support, you are obligated to promote their involvement. You may offer to put their logo on your posters and flyers or list their company names in your bulletins or in ads. You could also offer to thank them publicly at your event, and you could even allow them to speak before the event starts. Sponsorship is a great way to find savings in your budget. 15

17 How do you get people to come out? It is time to promote the show so everyone in hears about it. You may already know where a lot of people in get their information. Is there a radio station that everyone listens to? Is there a popular local newspaper? Whatever you use to promote the show, make sure that all of your materials and postings are consistent and include the who, what, when and where for the show and how to buy tickets and at what price. Below are a few ways that you can get the word out: 1. Posters and flyers l Create an eye-catching poster and post it around town at local businesses, organizations, schools (for a young audience) and on the streets. Posters can also be faxed to organizations to post. l Flyers will have the same information as the poster, just smaller so that people can take one with them. Go to events happening before yours and hand out flyers. Also give piles of flyers to others to hand out for you. l Both putting up posters and handing out flyers are great activities to recruit volunteers for. 2. Create a print-ready press release l A press release is the story about your event (that includes who, what, when, where, etc.), which can be fed to newspapers. It might contain a bit more information than your poster (such as artist biographies or background information). l Often newspapers need content, so if you write about the show the way an article would and include a nice image, your story may be published exactly as you have written. This is like getting free ad space! l Press releases are sent to print, television and radio media. l You can also post the information on community notice boards and cable stations. 3. Create a promotional to send far and wide l The would have all of the same information as the press release but would likely be shorter something between your poster and press release. l Try to keep the bulletin brief, no longer than one to one and a half pages. l Send this to organizations, companies, schools, the band office and to your personal contacts as well. 4. Consider buying an ad in a paper or online l Many newspapers and radio and television stations will publicize your event for free, as a community announcement. l However, it is an option to take the extra step to purchase an ad. The newspaper or radio station will likely expect you to design and provide all of the content. 16

18 5. Use social media. Post your event on Facebook, Twitter or on other online groups l You can create an event page on Facebook and invite all of your friends. l You can also post status updates on Facebook with the details of the event for others to share as well. l Are there online groups that should know about it as well? Look for groups or calendar listings in Facebook or on other sites. 6.Tell All of Your Friends! l Get on the phone and call people in to get the word out. l Ask people to send the out for you. Also make sure your friends who are on social media promote the event to their social media contacts. l Get commitments from your friends to come, and tell your friends to bring their friends. Additional resources On the Road: Presenters, Canada Council for the Arts For more information: OAC Aboriginal Arts Program Assistant In Toronto: Toll-free in Ontario: ext info@arts.on.ca OAC Northwestern Consultant (in Thunder Bay) (toll-free in Ontario) northwestern@arts.on.ca OAC Northeastern Consultant (in Sudbury) (toll-free in Ontario) northeastern@arts.on.ca Ontario Arts Council 151 Bloor Street West, 5th Floor Toronto, Ontario, M5S 1T Toll-free in Ontario: info@arts.on.ca Cover photos (top left to right): Raven Kanatakta and ShoShona Kish perform during Aboriginal Music Week in Winnipeg, Manitoba. (Photo: Nadya Kwandibens) Dan General aka DJ Shub of A Tribe Called Red at the Electric Fields Pow Wow in Ottawa. (Photo: Paul Galipeau) Musicians J.J. Lavallee and Darren Lavallee perform during Aboriginal Music Week in Winnipeg, Manitoba. (Photo: Nadya Kwandibens) Bottom photo: Outdoor crowd at Aboriginal Day Live in Winnipeg, Manitoba. (Photo: Nadya Kwandibens) 17

19 Attachment #1 Sample Contract CONTRACT THIS AGREEMENT entered into this day of, 20. BETWEEN: (Hereinafter called the Artist ) (Name of Artist) Represented by: (Hereinafter called the Agent ) (Name, address, phone, fax, of Agent/Representation) AND: (Hereinafter called the Presenter ) (Name and address of Presenter) 1. PerfOrmANCe ANd rehearsal The Presenter hereby engages the Artist to publicly perform at the Venue at a time to be agreed upon or as set out below. Artist accepts the Engagement. The Presenter agrees to make the Venue available to the Artist for rehearsals and set-up at a time to be agreed upon or as set out below. Rehearsal(s) and performance(s) are herein being collectively referred to as the Engagement. Public performance date and time(s): Set-up/rehearsal date and time(s): No. of performances: Venue: 2. PAymeNt The Presenter agrees to pay the sum of $ for the Engagement. A deposit of $ will be paid upon receipt of the contract. The full payment sum, or balance thereof, shall be payable at the time(s) and in the following manner:. If the Presenter cancels in whole or in part, the Presenter will nevertheless be responsible for full payment of the Engagement fee as stated above. 3. duties Of PreSeNter Presenter hereby undertakes and agrees: (a) To provide the Venue at its own expense, well-heated or air conditioned as appropriate, well-lit, clean and in good order, with all the necessary Venue staff and clean and adequate dressing rooms for the Artist and all members of the Artist and/or band; (b) To ensure that the acoustics and stage lighting of the Venue and the comfort of the public therein comply with professional standards; (c) To curb the continuances of any noises or other disturbances which may serve to hinder the performance by Artist; (d) To obtain all necessary business permits, licenses and public performance copyright licenses; (e) To ensure that it has entered into a valid and subsisting lease or license in respect of the Venue for the period of the Engagement; (f) To ensure that no taping, filming or recording of any sort will be made of the Engagement without the prior consent of the Artist; (g) To ensure that, for the period of the Engagement, there exists general liability insurance with respect to the Venue and to the performance by the Artist therein of not less than One Million Dollars ($1,000,000.00) to insure against, among other things, loss or damage due to theft, fire and liability for death of injuries to the Artist or other persons and loss or damage of personal property.

20 4. technical SPeCifiCAtiONS Technical specifications may be attached, as Technical Rider. Any such rider will be returned and signed as an integral part of this agreement. Presenter shall provide at its own expense all stage and technical personnel appropriate for loadin and load-out, rehearsals, set-ups and performances, as required by the Artist. 5. BOx OffiCe Presenter shall plan, organize and administer all tickets sales. Artist shall be given # of tickets for the performance of the Artist. 6. PrOmOtiON ANd PuBliCity Presenter alone shall be responsible for the promotion and advertisement of the Engagement and shall pay all expenses resulting there from. Artist grants to Presenter the right to make use of Artist s name, pre-approved images and other likenesses only for the purpose of advertising and promoting the Engagement. The Artist will supply images and samples of promotional materials to be delivered at Presenter s expense. 7. merchandise SAleS Presenter hereby authorizes the sale by or on behalf of Artist of merchandise prior to, during the intermissions of and subsequent to each performance by Artist during the Engagement. 8. force majeure If either party is delayed or interrupted from the performance of its obligations arising from an act of Force Majeure such as fire, flood, war, public disaster, strikes or labour difficulties, governmental enactment, regulation or order, emergency, or any other cause beyond its control, such party shall not be liable to the other therefore and the parties shall, if each so desires and where feasible, make such further arrangements as are mutually satisfactory to the parties to carry out the purpose and intent of this agreement. 9. termination (a) If either party shall fail to perform any of its respective obligations hereunder, the other party may terminate this agreement forthwith upon notice to the other party, and the party so terminating the agreement shall be relieved of any of its obligations hereunder, without prejudice to any rights to seek damages or such other right or remedy as it may have at law. (b) If, prior to the date of the Engagement, Artist ascertains that Presenter has failed to fulfill its obligations under a contract with any third-party artist in respect of a performance by such Artist, or, if Artist ascertains that the ability of Presenter to fulfill its monetary obligations hereunder has been substantially impaired, Artist shall have the right to forthwith terminate this agreement by written notice to Presenter to that effect without obligation or liability to Presenter. 10. AuthOrizAtiON The Agent is authorized to execute this Agreement as an agent for and on behalf of the Artist. 11. ASSigNmeNt, AmeNdmeNt & NOtiCeS This agreement may not be assigned or amended by either party without mutual written consent. All notices must be sent in writing. This Agreement shall be governed by and construed in accordance with the laws of the Province of Ontario and the laws of Canada. IN WITNESS WHEREOF the parties have duly executed this Agreement each on the date as written above. Agreed ANd ACCePted: Presenter: Artist: (Authorized Signing Officer) (Authorized Signing Officer) Please note: this is one copy of three sets of contracts. Please ensure that three copies are signed by all parties.