Image Credits
09

Fees, Wages & Budgets

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.

Overview

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.

Things To Consider

Why?

What?

  • Does the artist fee from the museum budget cover development, presentation, commission and/or acquisition?
  • Have you discussed how Intellectual Property will be reflected financially and otherwise?
  • Are there any additional fees for licensing or transfer of copyright?
  • Are there any regionally specific taxes applicable?
  • For expenditure, have you considered the following line items: artist fees, producer fees/wage, performer fees/wage, other collaborator fees/wage, photographer and/or videographer fees/wages, technical staff fees/wages, per diems, in-costs (employee insurance, retirement fund and loadings), child-care, legal fees, insurance, auspice fee, material costs (set, costumes, extraneous materials), venue hire (rehearsal and presentation), transport and accommodation, phone, internet and administration, freight, and contingency.
  • Have you considered the museum-related costs for developing, presenting and commissioning (eg. Visitor Services Teams, Security Teams, out of hours work) or acquiring (eg. archiving, documenting the choreographic work)?

Who?

  • Who will be responsible for drafting and managing the budget?
  • If the artist is developing new work, who is paying for these development costs?
  • Who makes up the artist team and what are the appropriate industry rates, standards or awards?
  • Who is responsible for paying for insurance covering public liability, professional indemnity and personal accident liability for all artists involved?

How?

  • How will fees and wages be calculated? Will collaborators or performers be paid by the hour or the working week? Are they employees or are they contractors? Has an award rate been used, including overtime and weekend rates?
  • For income, have the following items been considered: government grants, institutional contribution, philanthropy (donations), ticketing income.
  • Has there been a discussion regarding the possible in-kind contributions the museum can make to support the budget? This can include technical equipment, tech support, documentation such as photography or filming and marketing, for example.

The Future?

  • Have you considered future outcomes for the work such as acquisition or future presentations? How will the planning for these be resourced?