Managing, Mentoring, Mothering - by June Gamble

When I was asked to write this article, I wanted to change the working title. Never the less I veused it as the basis of questioning both myself and the readers of Hotfoot...

Firstly, let me start by defining managing, mothering and mentoring.

Managing:

Quick definitions (manage)

verb: be in charge of, act on, or dispose of
verb: carry on or manage
verb: achieve something by means of trickery or devious methods
verb: watch and direct
verb: be successful; achieve a goal
verb: come to terms or deal successfully with

I have learnt, as an Arts Manager for the past 16 years, that in order to effectively manage others, I need to be able to manage myself proactively and
positively.

This has been a lesson, learnt slowly and at great expense over a long period of time. I now understand this concept, to the point that it has led me to the importance of both myself and the people I manage having a healthy work/life balance, hence my new career as a Life and Business Coach.

Regarding the relationships between Managers and Artists, I can see that the above definitions can be taken literally!

It is true that I have been known to "be in charge of" clients, careers and projects, as well as "act on" my own and others initiatives and events and it is true to say that I have, at times, "disposed of" clients and unwanted work.

However, I have never "achieved something by means of trickery or devious methods" but I do realise, that there are some artists that believe that this is what Managers do!

I have "watched and directed" both the careers of individuals, the development of companies and in some cases, elements of dance productions (when requested by the artist). According to my clients, the benefits of having a manager include the fact that this reduces their sense of isolation, as I am able to give them an objective overview, as well as professional expertise and a business approach to their development.

As a Manager, I continually set and achieve goals, as well as come to terms with or deal successfully with difficult situations, ranging from negotiating with venues, promoters and funders to managing relationships with clients and artists.

Mothering:

Quick definitions (mother)

noun: a condition that is the inspiration for an activity or situation (Example: "Necessity is the mother of invention")
noun: a woman who has given birth to a child (also used as a term of address to your mother) (Example: "The mother of three children")
noun: a term of address for an elderly woman
noun: a stringy slimy substance consisting of yeast cells and bacteria; forms during fermentation and is added to cider or wine to produce vinegar
verb: care for like a mother
verb: make children

During the past 16 years, I have managed numerous companies, projects and events, including Badejo Arts, Union Dance, Akshaya Dance Theatre and ADAD choreographic platforms. Notably I have had long term management relationships, ranging from 3 to 11 year with clients including: Edwards and Watton, Bullies Ballerinas, Duende Flamenco, City Ballet of London, Bedlam Dance Company and Sankalpam Dance Company.

Did I "Mother" these artists, I ask myself?

I have always maintained that no matter when I acquired my "children" or whether they were new born, adopted or fostered, when these artists first
approached me to work with them, they put me on a pedestal and looked to me as a Mother figure, in a position of experience and authority. However, over time, our relationship became more of a partnership, as the client (my baby!) matured and became a teenager who then, either rebelled and left home or worked through their angst and became my equal.

However, at this point, I would then say that the balance of the relationship shifted and became more like a marriage, which can make it difficult for either party to leave without an acrimonious separation. Although, I am proud to say that I continue to be on good terms with all my ex-partners!

From a personal point of view it is true to say that "mothering" my clients has meant that I have never felt the maternal urge to procreate. I feel like I have done my fair share of nurturing and that I have satisfied my maternal instincts.

So, I am now at the point where I do feel like "an elderly woman" who occasionally feels like "a stringy slimy substance consisting of yeast cells and bacteria"!

I also feel honoured to have met and worked with all of the gifted artists that I have had the privilege of being associated with as their Manager. Like yeast, as it ferments cider or wine into vinegar, I consider that I have been a catalyst and an enabler producing hardy, well-rounded, valuable and effective artists. I am a very proud "Mother".

Mentoring:

Quick definitions (mentor)

noun: a wise and trusted guide and advisor
verb: serve as a teacher or trusted counsellor (Example: "The famous professor mentored him during his years in graduate school")

I prefer to refer to myself as a Coach, as Mentors tend to be associated with voluntary services and unfortunately, unless the world changes drastically, I need to be paid for my services.

Also as a Coach, I am focused on helping people to identify, set and achieve their personal and professional goals in a supported and safe environment. I am a great believer that human beings are remarkable creatures and can achieve whatever their heart desires, if they take the time to listen to and trust their hearts.

I find it liberating that finally, my work is NOT driven by my passion for Dance, but by my passion for empowering and facilitating the personal and professional potential of PEOPLE. Having been involved with Dance since the age of 4, it took me to the age of 34 to admit that Dance was no longer my motivator.

This is substantially due to what I believe to be the poor quality and lack of variety in too much of the current dance work being made and offered to audiences and participants. I think this is the direct result of the lack of longterm, strategic investment in our best dancers and choreographers. It is also
due to my perception that Dance will continue to be underdeveloped and systematically undermined as a direct result of the current funding system and the lack of respect for professional Dance and Dancers shown by the present

Government and its arts bureaucracy.

So, in this changing and unstable climate how do I manage to be "a wise and trusted guide and advisor" and how do I "serve as a teacher or trusted counsellor"?

My advice to all my clients is to think about number one. Are you happy and healthy? If not, what would make you happy and healthy? Once you are personally well, then you can make progress in your career. After this your approach needs to be lateral, look at the whole picture rather than just what you can approach the Arts Council for. In my opinion the Arts Council no longer wishes to be a major player, so don't waste all your energy on "pleasing" them. All projects must be led by the Artistic impetus, this will in turn help to signpost the potential external partners and commissioners. Then
with a clear time plan, budget and proposal you can approach these, as well as the Arts Council (if appropriate). And, the secret is to always have an 'A', 'B' and 'C' plan.

Frequently Asked Questions:

How do I get a full-time Manager?

You don't!

The days of a company having a full time Manager are long gone. For 16 years, I have been managing companies on the basis of a maximum of one day a week (with the exception of City Ballet of London, which was three days a week). This is the maximum that funding would allow.

Today, unless you are already a Regularly Funded Organisation, your development as a project funded company is no longer secure (as borne out by the statistics). There is no guarantee of a ladder to climb towards RFO status, which means no security for the Choreographer or the Manager.

Prior to the current funding system, if you continued to develop artistically, managerially, increasing your touring circuit and audience figures, you could be 80% sure of a steady growth over a long period of time. So, for example, with the companies I sought funding for, I achieved a 90% success rate, which enabled me to work with them consistently and developmentally over several years. As a result of the new Grants for the Arts system, my current success rate is 40%! And it's not a problem peculiar to me.

These statistics reflect the experience of many of my fellow managers, as a recent survey of Independent Dance Managers Network confirmed.
Personally, I have decided that it is no longer appropriate for me to submit applications to Arts Council England, when every application that I make has a 50%/50% chance of success. I do not find this satisfactory as a professional. I am someone who likes to make and take calculated risks but only ones where the odds are in my favour.

So, back to the question. As an Artist, it is imperative that you are aware that for the most part you will be expected to undertake your own management with the occasional paid support of managers on projects that you are able to raise money for. Unfortunately, my colleagues and I are less able to take risks or invest in artists as there is no security or guarantees. Artists will be expected to pay or make a contribution to work done on their behalf by a Manager.

On a positive note, I strongly believe that the most "successful" artists are those that understand the importance of administrating their own company with or without management support and they are the ones who have a long and healthy career. Bullies Ballerinas, Bedlam, Biserk, Gelede, Darkin Ensemble, Sankalpam and Robert Hylton spring to mind. The Artistic Directors of all these companies were/are completely aware of and committed to running their own company. In my opinion without this awareness and commitment, they would not have achieved or continue to achieve their artistic ambitions.

What can I expect a Manager to do? Will they do everything for me?

There are very few Managers that will do everything and each Artist/Manager relationship is different. You will have to negotiate. This means from the beginning you need to be clear about your expectations and the Manager needs to be clear about what he/she can and will deliver. This should then be documented in the form of a contract with a schedule of work, clearly identifying who is responsible for what and when.

However, in my experience, having a Manager increases the work of the Artist by at least double if not triple! The increase is due to the amount of work that needs to be done as you develop artistically and as more opportunities come your way. Increased success results in increased work. Also, the Manager will require your input every step of the way, as it is your Company not theirs.

Once you work with a Manager an Artist is effectively an Artistic Director, this is a very different role to that of a dancer or choreographer and you need to plan for the transition.

Who can I ask to manage my company?

As I have already explained my colleagues and I are in less of a position to take financial risks, particularly those of us who have been doing it for a long time. Personally, I may not have children to feed, but I do have godchildren, a mortgage and goldfish! So, many of us have been diversifying in order to survive and to maintain a link with the dance world. Hence the training, consultancy and Life Coaching work that I do.

At the moment, a lot of us (particularly those of us who have been around for some time) are in transition and we may be forced to leave the dance world altogether. This would be very sad, as there is a wealth of information, experience and knowledge shared between us that is not acknowledged by the "powers that be".

In fact, in many situations, I am tired of seeing the wheel being reinvented, with disastrous consequences. I, too, am a tax payer and do not appreciate good money being thrown after bad, being spent on more bureaucratic administration and projects that "look good" statistically, rather than investing long term in artists that are identified by their peers as having an important place and contribution to make to the UK Arts scene. Managed in this way

Artists provide economic benefits in the form of VAT on tickets and sales, National Insurance and Tax paid by the numerous people employed in the arts, as well as credibility worldwide for having a vibrant artistic cultural society.

Again, back to the question!

A few of us for the past couple of years have been endeavouring to support emerging freelance managers either independently or through the London Arts Management Training Scheme. As the Independent Dance Managers Network (IDMN), we are now looking at funding possibilities (outside of the Arts Council) to support training programmes for emerging and developing freelance managers for the independent dance sector. However, this will take time and may or may not be made possible, with or without the support of Arts Council England. But it is a ray of light in an ever-darkening landscape.

In answer to the question, if you are looking for a manager, then please email an 'advert' to the IDMN Coordinator, Natalie Andrews at: [email protected]

Natalie will then circulate your 'advert' to the members of IDMN who will respond directly to you if they are interested in the work that you are offering and if they are available.

It is also advisable to invite any managers that you are interested in working with to any showings or performances that you may be presenting. The other organisation that can provide guidance is The Place Artist Development. If you are a subscriber, you are currently eligible for one free 1:1 session a year, as well as receiving Juice, a monthly listing magazine where you can also advertise for a manager. In addition, they also have a Dance Manager's Database of freelance Managers and the Self-Managed Artist Scheme, which provides successful applicants with a management advisor for 4 meetings a year. The deadline for the next scheme is Friday 16th September. For details contact: [email protected]

Finally, I am not personally planning to manage any new companies; however, I do offer the 4 meeting a year option on a private basis and currently work with artists and companies including Robert Hylton, Hofesh Shechter, Fleur Darkin, Martin Robinson, State of Emergency, Gelede, and Biserk.

Whether you are fortunate or unfortunate in your search for a manager, you need to ask yourself "am I ready to manage my own company"?

In conclusion, I have to confess to being a manager, mother and mentor.However, I would prefer to be referred to now as a Life and Business Coach!

June is a freelance Arts Manager and Consultant and a qualified Life and Business Coach. Until 23 years old June trained as a dancer in Bridport, Plymouth and London.

Her first Arts Management job was in 1989 at Adzido Pan African Dance Ensemble. In 1990 June moved on to work with Pan African Arts Management who managed Les Ballets Africains (national dance company of Guinea in West Africa), the Pan African Orchestra, Femi Kuti & other African artists.

She is currently is an Executive Committee member of the Independent Dance Managers' Network, Development Coordinator for Sankalpam. Her consultancy and training clients include Robert Hylton, Martin Robinson, Menelva Harry, IDMN, Dance South West, Swindon Dance, East London Dance, Dance North West and The Place Artist Development

June if a former member of the standing committee of ADAD and worked as the Coordinator for 3 years. June is also on the Board of Directors of Plymouth-based iDC (integrated dance company).