Emma Park

How do you become the one that is noticed?

Published Monday, 1 February, 2010 | Comment

Last night I went to see a really exciting event at Howden Park Centre in Livingston. There were four live bands/ acts performing their own material for a local audience. At the end of the evening the organiser did not know if he was going to break even and I'm certain that none of the acts were paid a fee.

As I listened to the acts they were playing familiar music but it was all orginal. Lyrically some of it was beautiful, some fun and the rest would fit perfectly into any chart minus the odd expletive. If you closed your eyes you would be forgiven for thinking one of the bands was singing an unheard Oasis album track or even their latest release, musically it was actually more complex. However, Oasis are now worshipped by hundreds of thousands and each sitting comfortably on their retirement fund yet this group are doing unpaid gigs on a Sunday evening for their friends and family.

The vocalist even said it himself 'just fifteen years too late'. This is true. There have been hundreds of replica Oasis groups, some more talented than the original but once Oasis had stormed the scene none of them stood a chance, the void was filled. But why Oasis? Why not one of the others?

This made me think about the dance sector. There are many artists out there producing similar work yet why are some funded and celebrated where others are ignored? What is the defining factor in making your work a success?

I think originality helps. If you can be marked for being the first of a genre no matter how many similar acts follow, you will have been a pioneer but this only works if you are publicised well and known for your original work. It is feasible for your idea to be replicated by another with a better publicist and they will take the credit for your revolution.

However, not everyone wants to change the world. Is this wrong? I think not, there are many enjoyable genres of dance out there that audiences want to see so there is nothing wrong with fulfilling their expectations. Financially it is usually a better way to go, bums on seats and all.

How do you become the person that is in the right place at the right time? Answers on a postcard please.

  • grotto
    I believe too much emphases is put on Networking. I recently returned from dancing at BDE, basically a huge networking orgy or choreographers/producers/programmers. Basically everyone but dancers, and I know the last thing the dance world needs is to ignore the actually dancers themselves any more than they already do. But there you are, this is how it works.

    I went to a few after party networky thingys (there was free booze). It really was a few big names with others buzzing around trying to talk to the people that have the power and the money/influence to make a difference. Irony is most people in this position know very little about dance, have not trained as dance/performance artists and are most likely there because there good business men.

    Anyway

    Talking will only get you so far, you can put yourself in the right place at the right time, but if you dont say the right things then its pointless. The usual is, I've just started out, have you got any advice? I have a great piece I'm trying to tour maybe I can send you some details, or come watch my show. Asking lots of questions about them (flattery is very important).

    I like to think the people who need to network and sell them self's verbally and spend hours e-mailing and going for drinks with the right people, don't have the physical skills/choreographic skills they need to make a name for themselves in the first place.

    The irritating thing is that it works, you can get far through pure networking, but for me this is nothing to be proud of.

    I would love to, love to, love to, love to, love to, love to, LOVE to believe that talented dancers and choreographers and get to where they are purely on the merits of their work, because that's how it should work right?

    maybe I'm an idealist.

    Alas I'm aware that bums need to get on seats and educational projects need to be abundant (because thats all dance is good for).

    "Hey I'm making a piece about knife crime, mixed with breakdancing, African, Indian, Chinese, Scottish, traditional Spanish dancing working with anyone who ticks the "i need help through the expression of contemporary dance box" (young offenders, underprivileged youth etc" and I need some funding"

    this is the perfect networking line. I'm not at all undermining some of the incredible work that is being done in the community dance sector, I've seen it first hand, and it changes lives. The above is a distasteful generalization, but getting noticed now is like doing your a-levels. "here's the marking system, just right what they want to hear, don't need to show any creativity, just as long as they have things to tick"

    Networking helps, it really does. But I would quit my job right now if I didn't believe in in my heart of hearts that if something/someone is good enough, they would get noticed without any of the shove my work down your throat stuff which is increasingly common. I believe this because there are some great artists working in England. Unfortunately just recently we've started to see the outcome of the ticking boxes approach ACE have started to implement, which I know have the best intentions in mind but does nothing for the sake of dance as an art form.

    blah blah, sorry haven't had my blog for a while and needed to rant! Thankyou for giving me the excuse Emma :)

    As for your band, contradictory to most opinions, its not about selling out Sadlers wells, its about making a few people happy.

    Grotto

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