Terms Used in the Artist Registry
Artist – an individual whose artistic endeavours result in the creation of works of literary, visual or performing arts and audio, visual or audio-visual productions.
Assessment Committee – a group of Culture Sector professionals representing organisations appointed by Cabinet to evaluate applications submitted by persons interested in becoming registered with or having work certified by the Artist Registry.
Audio Production – refers to a sound recording which was made for public release and promotes or reflects local culture.
Bonafide – claims to the production of work in the creative sector made in good faith without fraud or deceit.
Certification – refers to the certification of Audio, Visual or Video Works.
Cultural Worker – an individual whose technical or administrative labour is necessary to facilitate the production of artistic, visual, literary, performing, audio, visual or audiovisual work by artists. Members of cultural organisations (umbrella organisations, profit and non-profit companies) can also be registered as Artists or Cultural Workers.
Evidence / Sample of Work – items that furnish proof of a particular activity.
Field of Endeavour – a topic, subject, or area of interest or specialization.
Registration – refers to the registration of Artists or Cultural Workers.
Secretariat – a group of technical officers which administrate the operations of the Artist Registry.
Visual Production – refers to visual productions which were made for public release and promote or reflect local entertainment or local culture.
Video Production – refers to an audio-visual work produced using any electronic video format which was made for public release and promotes or reflects local entertainment or local culture.
Supporting Documents
An artist bio or profile is a summarized, narrative version of your resume, but shorter and with more personality. Profiles are used in your professional package, as part of a catalogue at an exhibition, in publicity and printed programs, and other promotional materials. Your artist profile should integrate portions of your resume and artist statement. In general, profiles are more factual about you as an artist, whereas statements are more about the ideas, concepts and techniques behind your work.
How to put it together
- Quality over quantity – keep your profile to one or two paragraphs (especially for a young artist)
- Write about yourself in third person
- Include place of birth, education, and where you currently reside
- You may want to include information on your spouse and children (if any)
- Consider creating a shortened version that can be easily sent to promoters, reporters and audiences
Example:
Based in East Grinstead, I’m largely a self-taught painter, though I studied BA Illustration at UCA Maidstone around fifteen years ago. At that time I explored collage and photography rather than painting, so it’s been a joy to rediscover paint in the years since graduation. I am completely captivated by people, absorbed by portraits and the figure. Whether just for my own enjoyment or for private commission, I love to use my brush and paints to creatively capture a likeness. I like to make marks with my paint, rather than try for a photographic smoothness, but regardless, the end result should be an accurate observation, created with painterly expressive marks. In my life drawing, I also love to explore mark making – building up my drawing with a complex pattern of marks and varied line. From time to time I vary my subject matter with a landscape or some equestrian art, but people remain my true obsession. I am available for private commission. See www.sherigee.com for more info.
The primary goal of a marketing plan is to get people to buy your products or services. The Sales and Distribution part of the marketing plan details how this is going to happen. You should consider:
- What is Your Product and Who is the Consumer?
- Route to Market
- Communicating your Film to the Target Audience
- Release Goals and Budget
- Marketing Campaign
- Distribution – How, Where and When
Example:
The primary distribution goal for Bike Messengers is acceptance into Film Festivals in the United States and abroad.
The film’s unconventional nature will provide some advantages in the application stage:
- It will be eligible for both live action and animation festivals, bringing variation to either type of program, (i.e. a rare appearance of animation in a live action program, or a rare appearance of live action in an animation program);
- Many film festivals have special categories for experimental films, (e.g. The Sundance Film Festival offers both the “Frontier” and “Midnight Screenings” categories in addition to their traditional “Shorts” category), and Bike Messengers will be eligible for many such categories;
- It is relatively short for a short film, and thus will be easy to fit into a schedule;
- Its use of 3D Animation to extend the abilities of the guerilla filmmaker will be of special interest to the independent filmmaking community;
- It has a broad appeal: it can be appreciated simply for its visuals and music, as well as for its underlying ideas;
- It has a unique look and probably will not resemble the other pieces against which it will be competing for acceptance.
After the film festival circuit, Bike Messengers will be able to find further audience in the videoart community, on the internet and on television for many of the reasons listed above.
A synopsis is simply a clear, factual summary of your production’s storyline. It is usually about 500-800 words and should include the following:
- Main purpose – Summarise your plot
- Secondary purpose – Make it clear what Unique Selling Point your book has
- Language – Be business-like: clear, to the point, neutral.
- Be well – presented – No typos or spelling mistakes. Normal font size, normal margins, line spacing no narrower than 1.5.
- Character names – It helps if you put the names of main characters in bold or CAPS when you first introduce them. That way, if the reader has forgotten who Carlotta is, it’s easy for them to skim back and jog their memory.
Example:
Synopsis of Double Cross by Tracy Gilpin
Dunai Marks discovers the strangled corpse of Siobhan Craig, an activist who is not only her employer but also a mother figure; Dunai had been abandoned at an orphanage as a baby. Siobhan was about to present to government the results of a controversial population control model for possible implementation at national level. Dunai believes this is the reason she was murdered.
The investigating officer on the case is instructed by an agent of the National Intelligence Agency to treat the murder as a botched burglary. Although some evidence points in this direction, Dunai believes Siobhan’s murder was work-related, which means she and Bryan, an American statistician, could be in danger. She strikes a deal with Carl, a private investigator. If she is able to find a motive for the murder he will show her how to go about catching the killer.
Dunai discovers Siobhan was blackmailing five people who stood in the way of her pilot project, and was involved with a subversive group of radical feminists called Cerchio Del Gaia whose insignia is a double cross. Dunai and Carl investigate the individuals blackmailed by Siobhan. They include: an anti-abortion activist, the head of an all-male religious fundamentalist group, an Anglican bishop, a member of local government, and a USAID official. One of these suspects was the last person to see Siobhan alive, another is known to have approached a contract killer a month before her murder.
Cerchio Del Gaia becomes increasingly entangled in both Dunai’s life and the investigation, and she is told that if she joins the group she will have access to information about her birth. The National Intelligence Agency is on a similar tack; if Dunai infiltrates Cerchio Del Gaia, which they believe is an international terrorist organisation, they will provide her with information about her origins. Dunai turns down both offers and the mystery of her birth and abandonment is eventually revealed by a woman claiming to be Siobhan’s sister, Dunai’s birth mother and the head of the South African chapter of Cerchio Del Gaia.
Throughout the investigation Dunai has searched for Mr Bojangles, a schizophrenic vagrant who may have seen the murderer. When she eventually finds him he seems to be of little help, yet it is his ramblings along with another clue that leads to her close friend and colleague, Bryan, who has been wanted by the FBI for twenty years for terrorist activities in the US. Bryan murdered Siobhan after discovering she intended betraying him to the National Intelligence Agency to deflect attention from Cerchio Del Gaia and as proof that she abided by the law even when it meant personal sacrifice. Carl, who is now romantically involved with Dunai, offers to continue her training as an investigator and she agrees to divide her time between this and Siobhan’s NGO.
A well-written organisational profile is an effective way to introduce the business to the potential customers and other stakeholders. An organisational profile is a professional introduction of the business and aims to inform the audience about its products and services.
A profile should include:
- The orgnaisation’s name and acronym (where relevant)
- Contact Information
- Founder
- Year of Establishment
- Mission
- Objectives
- Areas of Work
- Achievements
Example:
Graphic and Logo Design Limited (GLDL) offers the best in custom graphic design and advertising services at affordable rates. Established in 2001 by Ben Kline, our team of artists, animation specialists, illustrators and advertising specialists successfully takes your project from concept to completion.
We specialise in Brand Development, Advertising, Graphic Design, Print, Multi-Media production and beyond. With 15 years of experience in graphic design, corporate branding, communications, flashpresentations and video production, GLDL is well versed in the field of visual presentations.
OVERVIEW
This should be a brief description of the festival’s goals, elements, and focus areas.
Example:
Every August, the Edinburgh International Festival transforms one of the world’s most beautiful cities. The International Festival’s success is built on an uncompromising commitment to virtuosity and originality, inviting some of the finest creators and performers from the worlds of theatre, music, opera and dance to offer a unique experience for audiences.
The giants of the arts are invited to appear at the International Festival every August. On a tremendous scale, Edinburgh becomes the international cultural epicentre for all the performing arts, offering intense, personal and exciting experiences to those who come from Edinburgh, from Scotland and from around the world.
MARKETING PLAN
The process of generating an effective marketing plan for a festival should include:
- Reviewing your festival budget
- Following a set guideline for planning and execution
- Identifying your audience- who do you want to attract?
- Compiling a situational/ SWOT analysis
- Setting measurable goals and objectives
- Determining a festival theme
- Identifying the marketing activities best suited to your festival
- Creating a schedule and planning early
- Maximizing free publicity
- Measuring results- collecting measurable data lends credibility to your event
EVIDENCE
Evidence that the festival was hosted for at least three years or for three instances over a period of time in the form of newspaper articles, advertisements (digital, print or video), memorabilia, sponsorship letters, tickets, official passes, flyers, published guides and booklets to name a few.
Allowances & Other Initiatives
One of the primary goals of the National Registry of Artists and Cultural Workers (Artist Registry) is to facilitate access of intended beneficiaries to the gains provided by the Art and Culture Allowance.
This allowance has been instituted via seven (7) distinct amendments to the Corporation Tax Act:
- Act No. 91 of 2000
- Act No. 2 of 2002
- Act No. 4 of 2004
- Act No. 2 of 2006
- Act No. 17 of 2007
- Act No. 13 of 2010
- Act No. 2 of 2013
What The Legislation Says
Section 10G
(1) Subject to section 10L, where in a year of income, a company incurs expenditure in respect of an artistic work, there shall be allowed as a deduction, in ascertaining the chargeable profits of the company for that year of income, an allowance equal to the actual expenditure incurred up to a maximum of one million dollars.
(2) In respect of a visual work of art:
- (a) The deduction may only be claimed in respect of the initial acquisition of the work;
- (b) The deduction is allowed where the work:
- (i) Is done by a national of Trinidad and Tobago;
- (ii) Is certified by an art gallery, which shall submit a valuation of the work done.
(3) In the case of a performing art, the deduction shall only apply where:
- (a) The work is done by a national of Trinidad;
- (b) The national rendering such work is registered with the Ministry with responsibility for culture or with the Tobago House of Assembly, in the case of a national residing in Tobago.
(4) In this section, “artistic work” means any work of art, whether visual or performing.
Section 10J
Subject to section 10L, where in a year of income commencing from the year 2003, a company sponsors audio, visual or video productions for the purposes of local education or local entertainment or reflecting local culture for radio or television, there shall be allowed as a deduction, in ascertaining the chargeable profits of the company for that year of income, an allowance of 150% of the actual expenditure incurred in respect of such productions up to a maximum of one million dollars.
Section 10K
Where in a year of income commencing from 1st January 2006, a production company incurs expenditure in respect of its own audio, visual or video productions for educational purposes or promoting or reflecting local entertainment or local culture for use in radio, television or cinematograph works, there shall be allowed as a deduction in ascertaining the chargeable profits of the company for that year of income, an allowance equal to 150% of the actual expenditure incurred in making such productions up to a maximum of one million dollars.
Section 10L
(1) For the purpose of ascertaining the chargeable profits of a company for a year of income, the aggregate allowance that may be claimed under sections 10G, 10I, 10J, and 10Q shall not exceed the sum of one million dollars.
(2) In the case of a production company, in addition to the deduction allowed under section 10K, the company shall be entitled to claim an aggregate allowance of up to a maximum of one million dollars with respect to sums paid to finance sporting activities and artistic works not related to its own business.
Section 10M
For the removal of doubt, a company which is granted an allowance under sections 10G, 10H, 10I, and 10J shall not also be entitled to a deduction under section 10 of the Income Tax Act as applies to the Corporation Tax Act.
Section 10N
For the purposes of sections 10J:
- (a) The Minister with responsibility for education shall issue a certificate, in respect of a production for educational purposes, to confirm that the production is for educational purposes.
- (b) The Minister with responsibility for culture shall issue a certificate for productions promoting or reflecting local entertainment or culture, and a deduction shall not be allowed without such certification.
Section 10Q
Subject to section 10L, where in a year of income commencing from the year 2013, a company incurs expenditure in promoting the fashion industry, there shall be allowed as a deduction, in ascertaining the chargeable profits of the company for that year of income, an allowance equal to 150% of the actual expenditure incurred in respect of such promotions up to a maximum of three million dollars.
Under the free movement clause of the CARICOM Single Market and Economy (CSME), skilled persons are entitled to move and work freely throughout the region.
These include university graduates, media practitioners, artists, musicians, sportspersons, managers, technical and supervisory staff attached to a company or a self-employed person.
But while university graduates only need to show their degrees to be granted a CARICOM Recognition of Skills Qualification, other professionals such as sportsmen, musicians and artists, are required to present other documents.
The CARICOM Secretariat outlines that even within these broad areas, there are more specific categories. In sport for example, different documents are required from athletes as opposed to coaches, whilst athletes have to be registered as a professional or semi-professional in their field, coaches need to give proof of their affiliation to the respective sport federation, their tenure in the profession and their qualifications regarding their job.
The list of requirements for coaches is also further broken down by the sport activity itself. This means that cricket coaches are required to present a different set of documents than football or track and field coaches. Cricket coaches for example, have to present their West Indies Cricket Board (WICB) Senior Coaching Certificate, documentation that proves their affiliation to the National Cricket Association and also documentation that says that they have been coaches in the region for the past three years.
Football coaches are required to show their diplomas from reputable institutions, examples of which are: the FIFA level 3 Academy Coaching Diploma, the Brazil Football Academy Coaching Diploma or the Football Association of England Coaching Diploma. They should also be practising coaches within the last 18 months and affiliated to their country’s National Football Federation.
On the other hand, track and field coaches are required to present their International Amateur Athletic Federation Level 11 Coaching Certificates in sprints and hurdles, throws and jumps or middle and long distance running.
If they do not have these documents, they may present their coaching diploma, from a reputable institution, along with proof of practical experience within the last two years or present evidence of their affiliation with their country’s National Athletic Association.
Artists or musicians fall into four separate categories and each grouping has specific documentation requirements.
Category one consists of visual, performing, literary, plastic, folk and carnival artists. To be granted the skills certificates they will have to prove the community or national impact that their work has, give a record of awards granted by professional or national bodies and/or a record of employment in the field.
Category two artists or musicians are technicians such as stage or road managers and light and sound operators. They should also prove the national impact of their activities, give a track record or give evidence of special training in the specific field in order to be granted the skills certificate.
Support staff such as road crew, which is different from road managers, constitute the third category. To be granted the skills certificate, they have to prove that they are attached to an artist or musician.
In category four is the arts educator, who has no university certification, but is qualified up to a certain level within the education system and/or has evidence of special training in the specific field.
Skilled CARICOM nationals, who wish to exercise their right under the Free Movement clause under the CSME, can either apply for the skills certificate in either the host or home state.
The Caribbean Community (CARICOM) Free Movement of Persons Act, 1997, is a legislation that all CARICOM Member States should have in place since December 2005.
It allows for free movement of skilled labour in six categories and persons can qualify for Skills Certificates, which allow for free movement across the CARICOM region.
For further information, you can visit the CARICOM website at http://www.caricom.org/.
Download guidelines below:
CSME Skills Certificate Requirements
Start an E-Application HERE.