Application
Promoters, artist managers and self-employed artists apply the skills and knowledge outlined in this unit. In this entrepreneurial role they are responsible for developing and maintaining an extensive network of industry and media contacts so that all avenues for promoting artists are explored and used. |
Elements and Performance Criteria
ELEMENT | PERFORMANCE CRITERIA |
Develop promotional strategies | 1. In collaboration with relevant personnel, match aspects of artists and creative acts with potential target markets 2. Undertake appropriate risk analysis in relation to the promotional viability of artists 3. Identify activities that could be included in promotional strategies 4. Investigate the potential of all media outlets for promoting artists and creative acts 5. Document, discuss and revise promotional strategies as required |
Promote creative acts | 6. Facilitate the development and distribution of promotional material to advance profile of artists 7. Ensure promotional materials are developed in line with design principles that reflect artists' image and meet target market needs 8. Use testing and sampling strategies to determine the response of target markets to promotional materials 9. Create publicity opportunities for artists and capture them for future use |
Develop promotional networks | 10. Continually monitor sources of information to develop and maintain industry knowledge 11. Develop and maintain strategic relationships with a broad range of industry contacts 12. Deal effectively with the media |
Review promotional strategies | 13. Assess the impact and effectiveness of promotional activities 14. Analyse costs and timelines to evaluate benefits arising from promotional activities 15. In consultation with relevant personnel revise promotional strategies as required |
Required Skills
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Required skills |
research skills sufficient to access reliable information on the promotional viability of artists and artistic works literacy skills sufficient to read and interpret promotional materials numeracy skills sufficient to balance expenditure of promotional services and materials against allocated budgets communication skills sufficient to: gather and exploit strategic advice from industry contacts apply active listening, questioning and non-verbal communication techniques in day-to-day dealings with people critical-thinking skills sufficient to: test and compare different media options for promotional activities undertake a risk analysis into the promotional viability of artists initiative and enterprise skills sufficient to adjust artistic image in line with feedback planning and organisational skills sufficient to create, use and exploit media opportunities to promote artists problem-solving skills sufficient to manage contingencies in promotional activities self-management skills sufficient to: set priorities and apply time-management strategies work within established budgets and timeframes teamwork skills sufficient to work constructively with others technical skills sufficient to use the internet to access information |
Required knowledge |
new and emerging trends in relevant industry sector planning processes for organising promotional activities relevant legislation, regulations and codes of practice, including: advertising, sales and promotion accuracyand clarity of information anti-discrimination, equal employment opportunity and affirmative action copyright and intellectual property ethical standards, privacy and confidentiality OHS role and functions of: industry personnel agencies servicing the industry national and international industry associations issues and challenges that typically arise in the context of managing the promotion of creative acts |
Evidence Required
The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package. | |
Overview of assessment | |
Critical aspects for assessment and evidence required to demonstrate competency in this unit | Evidence of the ability to: develop viable promotional strategies for an artist or creative act promote the artist or creative act in line with promotional strategies develop and maintain a network of contacts for promotional purposes. |
Context of and specific resources for assessment | Assessment must ensure: access to an environment where promotional activities can be actively and safely facilitated access to artists and industry contacts use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of the candidate and the work being performed. |
Method of assessment | The following assessment methods are appropriate for this unit: case studies to assess candidate's ability to communicate effectively within a range of promotional situations direct observation of candidate promoting creative acts written or oral questioning to assess knowledge of testing and sampling strategies problem-solving activities to assess ability to manage contingencies in promotional activities. |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended. |
Range Statement
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included. | |
Relevant personnel may include: | artists and performers artist managers publishers advertising agencies public relations companies media personnel, such as: broadcasters critics journalists digital distributors/aggregators. |
Aspects of creative acts may include: | artists' culture, image and stage name artwork associated with performances and recordings characteristics of artists' live and recorded sound current and predicted popularity, professionalism, status and standard of artists past, current and predicted collaborations with other artists popularity of artists' style, genre and repertoire with intended audience demographic, including: age artistic preferences competing interests cultural affiliations disposable income loyalty predicted spending patterns projected personality of artists, e.g. media or stage recent successes of artists, including: radio television online live performances recordings. |
Artists may include: | arrangers composers songwriters performers: musicians singers dancers actors circus performers writers visual artists craftspeople designers. |
Risk analysis may involve: | balancing artistic returns with promotional costs balancing average bar tab per head of audience from recent performances with anticipated audience numbers for future performances balancing expectations and preferences of audience to style, genre and repertoire of artist balancing market appeal of artist with anticipated audience loyalty balancing ticket prices with predicted spending patterns of intended audience demographic mitigating non-attendance of audience, artists and/or promotional staff. |
Activities may include: | advertisements attention-seeking gimmicks competitions industry functions internet broadcasts live performances: auditions festival appearances headline acts supporting acts media announcements and interviews podcasts product launches, e.g. artist websites radio broadcasts television appearances. |
Strategies may be for: | live events print media online: artists' own websites social networking sites digital distribution agents radio television. |
Media outlets may include: | television radio internet: artists' websites broadcast email lists YouTube MySpace blogs digital communication devices, e.g. mobile phones. |
Promotional materials may include: | artist profiles, e.g. biographical and professional artist websites print, such as: banners brochures business cards flyers handbills pamphlets posters stickers demonstration recordings: digital downloads filmed performances interactive media products, e.g. podcast music recording and/or videos, e.g. CD and DVD media kits novelty giveaways photographs portfolios presentations press releases prototypes publicity shots reviews scores T-shirts. |
Design principles may include: | accuracy brevity conciseness amusing attractive and well presented clearly reflective of genre and musical culture of artist convincing creative easy to read media readiness, such as: clarity of photographs quality of recordings resolution of digital images visually interesting. |
Capturing publicity opportunities may include: | filming audio recording photographing. |
Sources may include: | discussions with industry personnel and promotional consultants music charts, including: internet radio television music downloads, websites and blogs industry associations media, including: articles bulletins directories information sheets journals magazines newsletters reviews subscriptions trade papers industry productions and events, including: awards competitions conferences conventions exhibitions festivals functions performances trade fairs suppliers of products and services. |
Industry knowledge may relate to: | business trends: 360 degree business model all rights under one deal passive rights deal distributed patronage new and emerging distribution systems new forms of marketing, branding and product placement alliances with allied technologies and businesses revenue structures opportunities for increased airplay of music through: digital radio digital television mobile phones internet advances in software applications new terminology social, political and environmental developments changing nature of work, including: occupations that are disappearing and how they are being replaced changes to the mix of skills and knowledge required in different areas of the industry. |
Industry contacts may include: | artist and repertoire (A&R) managers artist managers artists booking agents education and training organisations entrepreneurs legal counsel and accountants digital distributors/aggregators industry associations journalists producers promoters publishers wholesalers and retailers radio presenters record producers recording engineers studio/venue managers production personnel, such as: front-of-house lighting sound staging vision systems tour managers. |
Dealing effectively with the media may involve: | ensuring that the message conveyed in media interviews promotes the artists' image maximising media opportunities for artists techniques for responding to and prompting different types of questions, such as: clarifying basic questions of the 'what', 'who', 'where', 'why' and 'how' variety closed or open-ended hypothetical leading. |
Sectors
Unit sector |
Competency Field
Business development - marketing |
Employability Skills
This unit contains employability skills. |
Licensing Information
Not applicable.