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Evidence Guide: CUSMGT502A - Manage artists and their careers

Student: __________________________________________________

Signature: _________________________________________________

Tips for gathering evidence to demonstrate your skills

The important thing to remember when gathering evidence is that the more evidence the better - that is, the more evidence you gather to demonstrate your skills, the more confident an assessor can be that you have learned the skills not just at one point in time, but are continuing to apply and develop those skills (as opposed to just learning for the test!). Furthermore, one piece of evidence that you collect will not usualy demonstrate all the required criteria for a unit of competency, whereas multiple overlapping pieces of evidence will usually do the trick!

From the Wiki University

 

CUSMGT502A - Manage artists and their careers

What evidence can you provide to prove your understanding of each of the following citeria?

Establish business relationships

  1. Discuss, confirm and document contractual relationship with artists
  2. Use effective networking strategies with industry contacts to exploit business opportunities for artists
  3. Establish supportive business relationships with artists to ensure sustainable career outcomes
  4. Explore new and realistic opportunities with artists to maximise and exploit commercial advantage
Discuss, confirm and document contractual relationship with artists

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Use effective networking strategies with industry contacts to exploit business opportunities for artists

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Establish supportive business relationships with artists to ensure sustainable career outcomes

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Explore new and realistic opportunities with artists to maximise and exploit commercial advantage

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Manage career development

  1. Discuss and document realistic career plans with artists, ensuring career aspirations/potential are in line with realistic career goals
  2. Ensure that artists' repertoires are commercially viable and in line with realistic opportunities
  3. Ensure interests of artists are consistently aligned with agreed artistic and career goals when negotiating commercial opportunities
  4. Implement an impartiality clause when representing more than one artist, and ensure each artist is aware of their position within hierarchy of managed artists
  5. Assist artists to realise their full artistic potential, and provide objective assessments of artistic success in a manner and timeframe agreed by all parties
  6. Ensure negotiated obligations with artists are clearly communicated to all business partners
Discuss and document realistic career plans with artists, ensuring career aspirations/potential are in line with realistic career goals

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Ensure that artists' repertoires are commercially viable and in line with realistic opportunities

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Ensure interests of artists are consistently aligned with agreed artistic and career goals when negotiating commercial opportunities

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Implement an impartiality clause when representing more than one artist, and ensure each artist is aware of their position within hierarchy of managed artists

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Assist artists to realise their full artistic potential, and provide objective assessments of artistic success in a manner and timeframe agreed by all parties

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Ensure negotiated obligations with artists are clearly communicated to all business partners

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Manage business relationships

  1. Plan and agree on communication processes to be used in business relationships with artists
  2. Provide ongoing, accurate and objective copyright advice to artists
  3. Negotiate, confirm and record a financial plan with artists, and implement an appropriate system to record and monitor finances
  4. Report finances within legislative guidelines and make/accept payments within agreed timeframes
Plan and agree on communication processes to be used in business relationships with artists

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Provide ongoing, accurate and objective copyright advice to artists

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Negotiate, confirm and record a financial plan with artists, and implement an appropriate system to record and monitor finances

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Report finances within legislative guidelines and make/accept payments within agreed timeframes

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Develop market position of artists

  1. Assess style, genre, repertoire and performance standard of artists to clarify market fit and potential
  2. Monitor and assess attractiveness of artists in local, regional, national and/or international markets
  3. Collaboratively develop self-image of artists in line with realistic promotional opportunities
  4. Negotiate performance opportunities and organise tours within context of financial risk analysis parameters and artists' commitment timeframes
Assess style, genre, repertoire and performance standard of artists to clarify market fit and potential

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Monitor and assess attractiveness of artists in local, regional, national and/or international markets

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Collaboratively develop self-image of artists in line with realistic promotional opportunities

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Negotiate performance opportunities and organise tours within context of financial risk analysis parameters and artists' commitment timeframes

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Assessed

Teacher: ___________________________________ Date: _________

Signature: ________________________________________________

Comments:

 

 

 

 

 

 

 

 

Instructions to Assessors

Evidence Guide

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:

effectively mentor artists

manage artists and their careers

negotiate effectively for and with clients

promote artists in current music markets.

Context of and specific resources for assessment

Assessment must ensure:

access to appropriate accounting, bookkeeping, financial and/or spreadsheet software

access to appropriate technology to design and develop promotional materials

access to appropriate technology to research the market position of artists

access to artists and their markets

use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of learners and the work being performed.

Method of assessment

The following assessment methods are appropriate for this unit:

case studies to assess ability to manage artists and their careers

direct observation of candidate promoting artists to target markets and negotiating for and with clients

written or oral questioning to assess knowledge of artist management and mentoring

problem-solving activities to assess ability to develop business plans and strategies.

Guidance information for assessment

Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended.

Required Skills and Knowledge

Required skills

research skills sufficient to identify market opportunities for artists

literacy skills sufficient to prepare project proposals and promotional materials

numeracy skills sufficient to develop structuredfunding plans

communication skills sufficient to:

advise artists on industrial relations, OHS and financial issues

advise artists on the commercial feasibility oftheir repertoire

maintain comprehensive business networks to promoteartists' careers

mentor and counsel artistseffectively, ethically, sensitively and tactfully

negotiateperformance and publicity opportunities on behalf of artists

critical-thinking skills sufficient to:

evaluatebusiness deals to determine alignment with own and artists' interests

maintain compliance with contractualarrangements

initiative and enterprise skills sufficient to develop and nurture talent in the interest of artists and the intended market

learning skills sufficient to evaluate own business skills, identify deficits and use opportunities to address deficits

planning and organisational skills sufficient to:

maintain financial records in compliance with legislative requirements

manage people and projects

plan promotions and promotional campaigns

undertake business and financial planning

problem-solving skills sufficient to identify and plan for factors affectingcompletion of projecttasks within deadlines

self-management skills sufficient to:

continuously assess own leadership and teamwork skills against the professional and career development of managed artists

set priorities to achieve realisable short and long-term goals

teamwork skills sufficient to work collaboratively with artists

technical skills sufficient to use industry-current accounting, bookkeeping, financial and/or spreadsheet software

Required knowledge

accounting, bookkeeping and recordkeeping as they apply to artist management

career and professional development issuesfacing creative artists

legislation relevant to performers and artist managers, such as:

Copyright Act 1968 as it relates to licensing, publishing, rights and royalties

Copyright Amendment (Digital Agenda) Act 2000

state-specific legislation where applicable, e.g. NSW Entertainment Industry Act

markets and revenue structures in the industry

rights and obligations of creative artists

role and functions of national and international industry associations, including copyright, licensing and collection agencies

issues and challenges that typically arise in the context of managing artists and their careers

typical features, requirements and terminology used incontractual arrangements

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.

Contractual relationship may include:

confidentiality, impartiality and personal limits

exclusivity or co-management, and relative status expected in commercial opportunities

powers and limitations

proportional ownership/allocation of copyright

remuneration:

equal share of net profits, e.g. manager as group member (performing/non-performing), business partner or shareholder

commissioned or contracted on non-salaried contingency basis, e.g. management agency

individual/collective rights and responsibilities

scope:

advertising, promotion and publicity

business management, including:

accounting and banking arrangements

bookkeeping

consultative advice, including:

career

copyright

financial

industrial

OHS

remuneration

procuring and administering contracts, e.g. publishing, recording and sponsorship

procuring and administering engagements, e.g. bookings, merchandising, performances and tours

term and territory.

Career plans may include:

current and comprehensive industry contact list

journal of achievements and skill development

creative/artistic inventory

business inventory for the artist

local and regional support networks

proposed artistic and business development goals

proposed career goals, outcomes and pathways

self-assessment of current and required skills, knowledge and personal attributes

self-assessment of life and work values

timeline and action plan for achieving career goals

timeline and action plan for developing necessary skills and industry networks.

Communication processes may include:

distribution of information to all parties (for confirmation or revision) under regular or contingency circumstances via:

email

facsimile

group briefing/meeting

hand-delivery, e.g. courier or in person

postal

short message service (SMS)

telephone, including landline and mobile.

Copyright advice may include:

assignment and licensing of copyright

copyright for compositions, sound recordings and published editions

functions of industry associations, including:

Australasian Music Publishers Association (AMPAL)

Australasian Performing Rights Association (APRA)

Australian Copyright Council (ACC)

Australasian Mechanical Copyright Owners Society (AMCOS)

Australian Recording Industry Association (ARIA)

performing, mechanical and synchronisation rights

procedures that need to be undertaken to show proof of ownership of composed work

royalty and intellectual property rights.

Financial plan may include:

financial administration responsibilities, including:

calculation and payment of commissions

creditors and debtors

insurance

investments

maintenance of bank accounts

payment of expenses, including provision of receipts for all reimbursable expenses

petty cash

superannuation

taxation

wages and other remunerations

maintenance of asset register, e.g. equipment owned by artists.

Attractiveness of artists may include:

artists' musical culture, image and stage names

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

projected personality of artists, e.g. media or stage

recent successes of artists, e.g. broadcast, media, performing or recording.

Financial risk analysis parameters may include:

balancing expectations and preferences of audience to style and genre of artist

balancing expected revenue against estimated costs

balancing market appeal of artist to intended audience demographic

bases for assumptions regarding sources and amounts of income

strategies for changed income conditions

strategies for managing artist when income expectations are exceeded

strategies for managing artist when income expectations are not met.