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Acquisition Practices
02
Agreements & Contracts
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Archival Practices
04
Audience
05
Disability & Access
06
Diversity, Equity & Cultural Guidelines
07
Documentation
08
Establishing Relationships
09
Fees, Wages & Budgets
10
Grants & Funding
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Media & Communication
12
Security, Risk & Insurance
13
Transmission, Activation & Touring
14
Working With Performers
15
Working on Site

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Working With Performers

Part of the mission of museums is to provide access and care for collections and exhibited works of art. Choreography in the museum generally requires performers to be present physically in the museum environment.

Overview

Museum systems and spaces may not be designed for performance, and performers may not be familiar with working in museums. Identifying and addressing the specific conditions and provisions required to support performers is an important part of planning which the artist/s and the museum should undertake well before the performance presentation. Access riders are one possibility for communicating these needs.

Things To Consider

Why?

  • Does the museum have previous experience working with performers? Do museum staff have experience working with performing artists?
  • Do the performers have experience working in a museum context?

What?

  • Do any performers have culturally specific conditions or protocols that need to be observed and respected?
  • Has there been a discussion about the access requirements of the performers in initial discussion, at contract stage and ongoing? Eg. venue entries with no steps, provision of dim lighting, not too air conditioned, breastfeeding friendly, mental health check-ins.
  • Has there been a discussion about how the artist team members are paid, contracted, insured, documented, and credited?
  • Is there transparency on the museum's part about pay rates? E.g. are they referencing relevant pay scales?
  • If there are multiple performances in a day, are performers compensated for their waiting time?
  • Who is the primary contact for the performers? Does this person have experience working with performing artists?
  • Has a communication plan been developed and shared / discussed with all parties? Eg. best mode of communication, how performers / team members will be kept up to date, how people raise issues / resolve issues.
  • What are the risks in the museum associated with the choreographic work to performers, staff, and audiences, and how can these be mitigated? Is this documented in a Risk Assessment and signed off by relevant staff and collaborators?
  • Is there a shared understanding between artist and museum teams about what constitutes safe and unsafe contact between audiences and performers? Was there collaboration on an Audience Management Plan regarding this? Eg. how will audiences be asked to move away if coming too close to dancers? Is photography by the public allowed? How can performers signal security if they feel unsafe (e.g. if they are touched by the public)?
  • Are the performers insured if they are injured while performing or rehearsing? Can the performers be contracted as temporary employees in order to be eligible for Employee Insurance?
  • What is the procedure in case of injury to performers or audience members, or other security concerns? Is this documented in the Risk Assessment?
  • Have ethics and safety of performers been considered for performances over long periods of time, especially in relation to energy required and the physical impact of the presentation situation?
  • Has the agreed duration and frequency of performances been mapped against a budget with industry standard and awards wages? Is there additional pay for physically risky conditions?
  • Have cultural protocols and the physical and mental health of the performers been taken into account when artists are working in proximity to other artworks in the museum?

Who?

How?

  • Is there a suitable green room? Has there been a conversation between the artist and museum to understand the needs of the artist/s, eg. private, secure, space to warm up?
  • Has adequate and uninterrupted warm up time been factored into production schedules?
  • Can performers easily access bathrooms and water during performance and rehearsal?
  • Has the artist team prepared for the physical conditions of the gallery including appropriate footwear and clothing for hard flooring, costuming for air-conditioned environments, sensitivity to lighting etc?
  • Have you discussed access pathways, including fire egresses, within the performance space and how this may impact the performance?
  • Have the performers been acknowledged and credited for their work in public communications?
  • Have security and invigilation staff been adequately briefed to care for the performers during the performance?

The Future?

  • Is there capacity for de-brief and follow-up between the artist, performers and the museum?
  • What can the museum learn about access, safety, human resources, professional relationships and team-based collaborations from working with performers?
Acknowledgement of Country
This research project is grounded on the Country of the Eora, Kulin, Ngunnawal and Noongar nations. We would like to acknowledge the Ancestors and Custodians of these places who have cared for the land and engaged in cultural practice on Country since time immemorial. We recognise our privileged position as individuals living and working on stolen, unceded Indigenous land. We thank all of the First Peoples and Indigenous collaborators who have enriched our work and research by generously gifting their knowledges and practices to this project.
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