Fees and wages may comprise a large portion of the budget for choreographic work in the museum due to the number of people whose labour will be integral to research, development and presentation of these works. Transparent communication between artist teams and museum teams is an important aspect of negotiating the budget for a choreographic work in the museum and empowers all parties.
Some of the collaborators may have regulated wages based on hourly rates and others may not. Fees and wages should be calculated according to industry awards and accepted industry standards in the region of the presentation. For example, in Australia a minimum hourly rate for performing artists is set by the Live Performance Award, and other artist fees and wages are often calculated using the Code of Practice published by the National Association for the Visual Arts (NAVA). Overtime for out-of-hours rehearsals or weekend work may need to be paid at a higher rate, and travel may require a full-time wage to be paid to performing artists away from home. If overtime is expected throughout the process an agreement should be made in advance.
A budget developed in the early stages of engagement will help the artist and the museum understand and adjust the scope and scale of the project and what is required across the work’s lifecycle. It is suggested that the museum team develop the budget for the work in consultation with the artist and any collaborators, taking into account the needs of the artist, artistic team and the choreographic work, in dialogue with the museum’s capacity to support such things in relation to available budget. eg. extra invigilators, install and lighting costs, overtime if needed. Ideally the budget and the agreement would be done simultaneously so all requirements are covered.
A fictional example of a situation where a budget was not discussed prior to contracting for a choreographic work.
A fictional example of a situation where a budget was not discussed prior to contracting for a choreographic work.