Such a valuable point about confidence in articulating the value and uniqueness of your own work. It always seems like this part of circus education is missing from most schools :(
This is fab. Thank you so much for posting. Not a big performer but do lots of circus workshops and see all the advice you cover in the video being transferable to getting work in that niche. Thing that I find challenging is working with community groups and schools who would love to book you, but with austerity/cut backs are constantly facing squeezed budgets. I'm based in the UK, so the situation may be different in other countries.
Awesome, yes these methods are totally transferable. The public sector is tricky, agreed. But again keep an open mind in terms of what is possible, providing immense value and specific results aligned with the desire of the client might inspire the person in charge to apply next year for a bigger budget. My sister works as a culture agent for schools (in Germany ), meaning she selects the artists to be in schools, she says it is all about a long game and making the products world-class and highly impactful. I love what you do and it is wonderful to have circus reach so many different areas on impact. 🎪
You wrote "Circus Clients" but your examples are for potential corporate clients (or am I wrong about this?) None of these apply to "circus clients," which I would define as circus directors or producers... So I'm curious what advice you have if these kind of people say "Your price is too high"?
Such a valuable point about confidence in articulating the value and uniqueness of your own work. It always seems like this part of circus education is missing from most schools :(
This is fab. Thank you so much for posting. Not a big performer but do lots of circus workshops and see all the advice you cover in the video being transferable to getting work in that niche. Thing that I find challenging is working with community groups and schools who would love to book you, but with austerity/cut backs are constantly facing squeezed budgets. I'm based in the UK, so the situation may be different in other countries.
Awesome, yes these methods are totally transferable. The public sector is tricky, agreed. But again keep an open mind in terms of what is possible, providing immense value and specific results aligned with the desire of the client might inspire the person in charge to apply next year for a bigger budget. My sister works as a culture agent for schools (in Germany ), meaning she selects the artists to be in schools, she says it is all about a long game and making the products world-class and highly impactful. I love what you do and it is wonderful to have circus reach so many different areas on impact. 🎪
You wrote "Circus Clients" but your examples are for potential corporate clients (or am I wrong about this?) None of these apply to "circus clients," which I would define as circus directors or producers...
So I'm curious what advice you have if these kind of people say "Your price is too high"?
What is the thing you struggle with in negotiation? Let me know 💓