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Elements and Performance Criteria

  1. Develop promotional strategies
  2. Promote creative acts
  3. Develop promotional networks
  4. Review promotional strategies

Required Skills

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 nonverbal communication techniques in daytoday dealings with people

criticalthinking 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

problemsolving skills sufficient to manage contingencies in promotional activities

selfmanagement skills sufficient to

set priorities and apply timemanagement 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

antidiscrimination 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 candidates 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

problemsolving 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:

print

television

radio

internet:

artists' websites

broadcast email lists

YouTube

Facebook

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

print

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.