Announcing the 2013 Colorado Performing Arts Jamboree

Join us on January 25, 2013, at the Jefferson County Fairgrounds, where you can:

• Meet one-on-one with 100+ performing artists and groups available to perform in Colorado 
• See 9 juried Showcase Performances throughout the day
• Find a dazzling array of music, dance, and entertainment to bring to your event or performance series
• Get your 2013 Guide to Colorado Performers - Colorado's best talent, all listed in one place

Bottom line: It's the most efficient (and fun) talent-scouting event in the state!

Since 1988, the Colorado Performing Arts Jamboree & Tradeshow has been Colorado's ONLY showcase where you can interact one-on-one with 100+ performers, experience live performances throughout the day, meet the artists in person, and collect samples of their work. It's fun, interactive, and affordable!

This is the same event that was co-produced in recent years by the Colorado Parks and Recreation Association.

We look forward to continuing to serve CPRA members by providing access to a widely diverse marketplace of performing artists. 

$27 per person or $65 per agency (three people from the same agency). Fee includes admission into the exhibit hall, live performances and the 2013 Guide to Colorado Performers, the ultimate desktop companion for finding entertainers available to perform throughout the state. Snacks and lunch will be available for purchase on site.

REGISTER NOW

Call or email if you have questions about the event or how to register. More details about the event, including photos and summaries of past Jamborees, are available at our website.

Also, we are seeking presenters to serve on our adjudication panel to evaluate and select the Showcase acts. If you are interested, please contact me as soon as possible.

We look forward to seeing you at the Jamboree!

Call for Colorado Performing Arts Jamboree adjudicators!

Colorado Performing Arts Jamboree - Registration is OPEN!

You can help create one of the most exciting aspects of the Jamboree by helping to select the acts that give live showcase performances. Artists and presenters alike agree that the live performances put the zing into the Jamboree experience.

As the producer of the Jamboree I especially appreciate the help provided by the panel of adjudicators each year. The adjudicator work helps assure that the Jamboree is in touch with the needs of buyers across the state and region, because the decisions are directly tied to people scouting and hiring talent for specific needs.

Over the years the adjudication has taken place in a variety of circumstances. For some years the session was hosted by a presenter - most often the Northglenn recreation center, frequently Brighton, a time or two at South Suburban. In recent years I have hosted the adjudicators at the Venture West megaplex - our home in south Denver - and serve everyone a nourishing home cooked lunch. The time commitment is approximately three hours and is scheduled based on the availability of the people who volunteer.

We have discovered lately that it is difficult for people to get away from their many commitments to meet in person, so periodically adjudicators work from a remote location. These days much of the application material comes in the form of EPKs and web-based promo. This allows us to send links and a summary paragraph or two to adjudicators who can't be at the adjudication session, but still allows us the value of their expertise.

It is a fun process that gives you the first look at the groups applying and also provides insights into how other presenters approach the process of evaluating performers. If you're curious about participating, but have some questions - call or send a note for more details. venturewestjim@gmail.com; 303-329-6242

Making Sound Check Work For Presenters: Tricks of the Trade

Article by Chris Daniels

If you have anything more than a guitar and voice setup at your event, then you have probably experienced some of the problems of sound check, especially in multi-band shows with limited time between bands. The results can be frustrating, ear-splitting, and can really affect the show adversely ... and that is the worst side effect of all.

So here are a few tricks I've learned over the years as both a musician and as Swallow Hill’s Executive Director (a presenter) that really come in handy for making the whole process go more smoothly, with better results for everybody.

1) Take a little time and learn about the process and equipment. There are sites like ( http://www.astralsound.com/equipment_guide.htm) that can help you. Classic mistakes that presenters make include: a) not knowing how to use a mic well and how to avoid feedback and other embarrassing mistakes when you are making announcements, b) not understanding the basic requirements of an act and the needs of your event, c) paying too much for sound and production services you don’t need. Taking the time to learn about production will help you be more professional, sound more professional, and even save you money. One of the most difficult moments for some presenters is the “thanking of the sponsors and introducing of artist or radio DJ” or any kind of talking on a mic. Most good sound people will be more than happy to take five minutes between sound check and downbeat to help you learn some good mic techniques, and they will be thrilled you asked.

2) Get a clear stage plot WITH monitor requirements simply outlined from your acts. This is not detailed info about what everybody wants in his/ her monitor wedge, but a clear diagram of the instruments (including details like "left-handed drummer") and the number of monitor mixes that works for the band and placement of the wedges, and, if the artist uses an inner-ear system, how that will interface with the house system. If you hire young artists who do not have a stage plot, they can build one of these at a free site called www.freestageplot.com

3) Use a trusted sound company. They don’t have to be expensive; in fact, some of the smaller companies have better ”people skills,” the ability to adapt to your needs, and a better price range. There are any number of great companies that other presenters use. Word of mouth is the best way to get names, numbers, and info about the quality of the experience they had with the sound company. The two things to ask about are: a) Were there any problems that happened because of the PA or production company? b) Did the artists and the presenters feel good about the experience, i.e. would they hire them again?

4) Don’t be a sound check Nazi. Artists understand that the contract says “sound check must be completed by 6:45pm, but if it takes them until 7:05 when the doors (gate) opens to complete the last few details, it is OK. Presenters get into a nervous frame of mind -- that if an artist is finishing up a check on his or her violin and some audience members are walking in, it’s a bad thing. What you may not know is that it’s kind of cool for the music lovers to see and hear. At Swallow Hill we always leaned towards making sure the sound was great even if it meant some audience members were taking their seats as a last mandolin line was checked by Sam Bush. And the audience talked about it. They sent us emails saying, “It was great, I got there early and got to see Sam playing his fiddle and even talked to him for a second before the show started.”

Now don’t get me wrong, I totally draw the line at a drummer hitting his floor-tom 500 times while he tunes the head a microtone -- that is a no go! BUT I am one of many who believe that those last few little checks of a mic or a direct line actually prove entertaining to an audience waiting for 30 minutes in their seats after doors before the show starts.

5) Because sound and lights are obviously the essential reason for the audience to come to the show, the French call it “son et lumière,” don’t take it for granted. Learn about the equipment and the process, understand that sound check can take 35 to 40 minutes if it is a complicated setup, get amateur or young bands to contact the sound company and work with you and them to make setup and sound checks run smoothly, and then use that knowledge to hire the best sound company for your event. Once you get a good working relationship with a sound company, use that relationship to improve the shows you present.

Sound and lights are like any other aspect of an event, festival or concert series: the magic is in the details. Get comfortable with this part of your job and you will be amazed at how it lowers the stress level of putting on great shows.

Chris Daniels
Assistant Professor
University of Colorado Denver
Plus 25 years of Chris Daniels and the Kings - talk to him at exhibit space 55 at the Jamboree
www.chrisdaniels.com

Live and In Person: 5 Tips for Scouting Talent

By Jim Schwartzkopff

Thanks to online video, it's easier than ever to get a general feeling for an artist's performance without leaving the cocoon of your office or home.

But whether you're booking a concert series or bands in a club, nothing compares to seeing the artist in person. You can experience their interaction with the audience, feel the electricity (or lack of it) in the air, and gauge how this act is going to go over with your own audience.

To make sense of what you've seen, or share your impressions with someone else later, it's helpful to use a systematic approach. During my 24 years of scouting talent for A Taste of Colorado, Denver's large Labor Day festival, I scouted literally thousands of performing artists in all kinds of venues. Here are some tips:

1.  Advance planning. If you're seeing an artist in concert, you will probably be there for the whole concert. But if you're catching an act at a bar or in a festival setting, you can make a good evaluation in just 20-30 minutes. Check the schedule or call ahead to find out when the sets will start and stop; plan your arrival accordingly.

2.  Be ready to take notes. I travel with a small spiral notebook and pen, but you can go high-tech with a handheld voice recorder or digital note-taking device if you prefer.

3.  Settle in and get comfortable. If it's a bar, buy a drink or a soft drink. Be part of the audience.

4.  Make note of the key points. You don't need to write down everything--and if you determine the artist is clearly not what you're looking for, you're done! But here are some things to watch for:

• Basic performance elements. How many players or performers? What instruments? What generic type of music, dance, or other performance are they presenting? (e.g., smooth jazz, '60s rock and roll, singer-songwriter, juggler)

• Quality of performance and material. For groups with multiple performers, how's their pitch, rhythm, unison, blend? If it's original material, is it interesting? compelling? blah? What's the visual impact as well as the musical impact of the performance? How's the energy level? Too frenetic? Too laid back? Nice balance? 

• Audience Interaction. Does the artist create a good rapport with the audience? Is the audience bored? Engaged? Riveted?

• Sum it up. Summarize your  impression with one or two phrases: "Polished, fun, rocking performance!" "Great singer with quirky, interesting material," "Could be good for the XYZ series," or "Not for us." 

5.  Meet the artist.  After the performance, go speak to the artist if you're inspired to do so. Introduce yourself and get their card. Whether you end up hiring them or not, they'll be pleased you came out to see them perform, but more than that, they will know you try to make informed decisions.

By the way, the above tips are just as useful in a showcase setting.  I hope you're planning to attend the Colorado Performing Arts Trade Show and Jamboree on January 27, where a full day of performances (9 acts) will give you plenty of opportunity to strengthen your performance evaluation chops.

Colorado Performing Arts Jamboree - Registration is OPEN!

Colorado Performing Arts Jamboree
Friday, January 27, 2012, 9:00am-3:00pm
at Jefferson County Fairgrounds
15200 West 6th Avenue
Golden  CO  80401


The only event of its kind in the state!
    * Meet one-on-one with 100+ performance artists and groups - 45 acts have already registered as of November 20!  See who's coming by clicking here!
    * See 9 juried Showcase Performances throughout the day.  Showcase line up will be announced in early December.  Become a "Follower" of this blog and get the list as soon as it's posted!
    * Dazzling array of music, dance, and entertainment to bring to your event or performance series.

For more information and summaries of Jamb 2010 and 2011: Jamboree Home

Register now! Click here and scroll down to the link for on-line registration provided by the Colorado Parks and Recreation Association: Register to attend Jamboree 2012
 
Presenter Profile

Name:  Anna Salim

Position:  Event Manager, Downtown Boulder, Inc. 

How many events do you book talent for annually? Three (Bands on the Bricks, Noon Tunes & Fall Fest). [Ed. note: Bands on the Bricks and Noon Tunes are held weekly throughout the summer and Fall Fest is a three-day festival.]

How do you find local talent that fits your organization's needs? Events like the Jamboree, suggestions from our attendees, word of mouth (particularly from fellow presenters and sound engineers) and going through the many online submissions we receive through our website.

What is your greatest challenge as a booker? Finding musical acts that perform a crowd-pleasing variety and perform it all well.

What do you find most rewarding about your job? Watching the crowd on a beautiful summer night at Bands on the Bricks – it’s nice to see your hard work pay off by watching how much people enjoy the event.

What is the biggest red flag or turnoff in considering an act? Those who call and/or email me a lot in follow up.  Our policy specifically requests applicants not do this, and it’s a big turnoff when acts fail to follow instructions or don’t appear to value my time.

What is a local act that you booked recently that was especially successful, and why was it a success? That Eighties Band started playing for us in 2010 – and we keep having them back.  A big part of the success has to do with their skill and the variety of music they play, which our audience loves. It doesn’t hurt that they are an absolute joy to work with as well – very communicative and they always thank our event sponsors.

Hazel Miller packs the mall at Bands on the Bricks in Boulder

Sponsor Profile

Question: What venue in the Denver metro area was a boarded-up eyesore only three years ago and has been transformed into a state-of-the-art performance and event facility?

Answer: The Armory at Brighton Cultural Center!  

In fact, the Armory is a proud sponsor of the Colorado Performing Arts Jamboree. 

Why? Because they want to get the word out about their amazing facility. The armory is not only the most important cultural initiative in Brighton’s history, it’s also a treasure for artists, presenters, and audiences alike.

The Armory, located in downtown Brighton, was built in 1921 to store arms and military equipment and to serve as headquarters for a Colorado National Guard company. When the National Guard transferred to Fort Morgan in 1928, the American Legion moved in and hosted community events and celebrations in the building until 1973, when United Lumber assumed ownership and used the site to store lumber.  In 2009, the Brighton Historic Preservation Commission declared the building a historic landmark, and the owner, the Brighton Urban Renewal Authority, began the process of transforming the space from a boarded-up eyesore to a showpiece arts venue.  They refurbished the vintage curved ceilings, wood floors, and windows. They installed an advanced lighting and sound system, customized stage-seating configurations, and a variety of eco-friendly sustainable building features.

The Armory in 2008

The Armory Today

  The facility includes a community room that seats 40; an outdoor stage for summer performances; an atrium area suitable for small events; and a main auditorium that can be configured as an open pavilion or a seated audience of up to 300.  A movable stage accommodates various seating configurations, including theater-in-the-round.

Today the Armory is a vibrant cultural center, hosting local and regional theater, dance, music and visual arts programming for children, adults, and families. Programming often dovetail dovetails with cultural programs at the Brighton Branch Library next door.
Click here for the current events at the Armory

Reflections on the Fortunes of the Arts Councils

When I read that the Kansas Arts Commission had bit the dust last month, the news sent me into a swirl of memories and thoughts about the purpose of the arts and how to support them...

Attracted to the Arts, A Memoir
I was first attracted to the arts, particularly theatre, in high school.  I had been in various choirs at church and in school and I enjoyed the feeling of ensemble that came from working together to create a program.  We worked on challenging material, stuff by Handel and Bach.  Every Christmas we would perform at the Bear Valley Shopping Center and in the lobby of the Brown Palace, and various places around town.

Then one night as a high school outing a bunch of us went to see “Luther” by John Osborne at the Denver Auditorium.  I was spellbound.  Even though by then I had been in a couple of plays at school I had never seen a live, professional production.  “Luther” is not a very fancy show.  There is no chandelier, no giant plant, no explosions.  There isn’t even a sword fight or a dance number.  It’s a “talking play.”  All of the action unfolds through dialogue.  It’s the story of a whistle blower wrestling with his conscience and huge pressure from his “superiors,” which includes not only losing his job but also the threat of eternal damnation.  So the stakes are pretty high.  But, even so, it’s a lot of talking. The audience stayed with it all the way through and at the end there was  robust, appreciative applause. I can’t say that the production changed my life.  I already had a fondness for the theatre, but that memory has informed my work in the arts to this day.  Artistic projects can be about important things and a good story well told will keep people’s attention.

I’m not sure how this play came to be done in Denver.  It was a touring production, probably the Broadway cast taking it around the country after the Broadway run had closed.  It was a new play at the time, written in ‘61 and I saw it probably in ‘66 or so. There have always been touring shows.  Companies from the East brought shows of one kind or another to the mining camps and small towns of the Old West.  The “Carpa” or tent shows regularly came through the Southwest from Mexico.  So I’m sure there was some “connector” between Denver and Broadway long before the 1960s. I’m sure this show came to town without arts council support.

Congress Authorizes NEA
It was about this same time - mid ‘60s - that Congress authorized the National Endowment for the Arts (NEA) as an “independent” government agency.  Independent so that it could support things that “the government” might not approve of or have so much political trouble about that the project would get passed over in favor of something “more appropriate.” The early days of the NEA in the West were about subsidizing professional companies from out of state, usually the East Coast, to perform in under-served areas.  Pueblo had a “Best of Broadway” series for many years that had NEA funding.  Columbia Artist Management set up a system called “Community Concerts” that brought classical artists to really small towns in the West.  There are still communities that have series called “Community Concerts” even though they are no longer booked through Columbia.

Funding from the NEA came to each state through the state’s art council.  State arts councils were set up individually through legislation in each state and were eligible for NEA funds if they met certain criteria.  States set up arts councils right away.  It was an era when “culture” was considered important.  Having ballet, symphonic music, opera, painting, and sculpture meant your community had “the finer things” and showed maturity.  Your town was more than just a rough outpost in the nation’s developing expansion.

Some states like California, New York, and Utah had thriving, active arts councils.  Others had limp, barely  visible agencies.  Colorado started off strong.  John Love was governor and his wife Ann was a lover of the arts and was active throughout her life supporting the arts and historic preservation.  Since then the Colorado Council on the Arts has struggled for adequate funding and even for a clear focus on mission.  It has gone from being a division of the Department of Education, to being part of the Tourism Office, to the Office of Economic Development, and is now part of Colorado Creative Industries.  On their website the word “artist” is giving way to the term “creatives” and the point is not to bring the finer things to the state, but to develop the workforce and enhance tourism. This is a recent move, so it remains to be seen how this new focus will play out for the actual grant making.

Kansas Arts Commission
As I became an arts professional in the 1980s, one of my favorite arts agencies was the Kansas Arts Commission, because they had really cool programs that developed interest and understanding in the arts and also supported working artists.  One program I really respected was their Poetry in the Schools program.  I knew a poet who was selected for an Arts Commission project where he was paid for twenty hours a week: Ten hours a week teaching poetry in an elementary school and was expected to use the remaining ten to write poems.  The kids had an actual poet for a teacher and not some guy who fought his way through Ezra Pound for a semester in teacher’s college and the poet had the stimulation of teaching as he wrote.  And the subsidy!

As of May 31, 2011 Kansas is the only state or territory of the US without an arts council. Their governor axed the commission budget with a line-item veto. He says private donations should fund the arts, not the .005 percent of the state’s 13.8 billion dollar budget that the citizens contribute in taxes for the Kansas Arts Commission. The state will lose any NEA matching funds in the process.  The Arts Commission website now has this on its home page: “KAC Meeting Thursday, June 16, 2011 Meeting as be (sic) canceled until further notice.” Looks like the governor wrote it himself.     For the story in more detail story click this link:
http://www.pitch.com/2011-06-09/music/kansas-arts-commission-sam-brownback/2/

Post Arts Council America?
Have arts councils lived their useful life? Most artists and organizations are funded by private donations or entrepreneurial enterprises anyway.  In spite of the NEA and the arts councils being “independent,” nothing very cutting edge gets funded through them. Think of all the time we spent on two decades of “advocacy” to get the funding levels raised for the Colorado Council only to have it turned over to a “creative” to write “You won’t believe how high you can get in Colorado!” or some such, to promote tourism in the state. Doesn’t it seem like our time would have been better spent working together educating the public directly and creating demand?

It’s not too late to try that.  It has always been a focus of the Colorado Performing Arts Jamboree to bring artists and presenters together to develop programming based on what they both know about the audiences of our state. As both groups pursue their professional development, artists of the state will be more talented and presenters more astute about their communities’ tastes and needs and the programming offered can be more adventurous.  A desire for culture is what brought the arts councils into existence in the first place. I’m certain the public still has that desire.  As that desire is fed and grows among the residents of the state renewed public support will emerge.

The story’s not over in Kansas, either.  When the governor tried axing the Arts Commission through the legislature, the move failed.  It remains to be seen what will happen when the citizens of Kansas pick up the axe.
____________________________________________
Mark your calendars for Colorado Performing Arts Jamboree 2012.  We are back at Jeffco Fairgrounds again, January 20, 2012, 9-3:00.  For an event summary of Jamboree 2011 with photos click on this link:  http://venturewest.biz/Jamb_11_Demograph.html

If you don’t have the new Guide to Colorado Performers released at Jamboree 2011, you can still get one! Send me an email for details or click here where you can also see sample pages from the Guide. http://venturewest.biz/Guide.html

Tips for Buyers

How to Maximize Your Day at the Colorado Performing Arts Jamboree

Spending a day at the Colorado Performing Arts Jamboree (January 21, 2011 at the Jefferson County Fairgrounds) is an efficient, fun, and highly effective way to discover new acts for your performance series or events. Where else can you talk one-on-one with more than 100 performers and groups, gather promotional material, and watch nine live performance Showcases—all for a modest $27 per buyer ($65 for a group)?

Register to Attend

But to really take advantage of this opportunity, it’s best to put a little thought into your approach. The following tips are based on our own experience and that of talent buyers who come to the Jamboree year after year.

Before You Go

• A few days before the Jamboree, go online to and look at the list of Exhibitors, the Showcase Schedule, and the profiles of the Showcasers on our website. Get an idea of exhibitors you want to talk to and Showcase performances you specifically want to see, and plan to be there for those performances. With only nine showcase slots of 15 minutes each, they go quickly. (TIP: The Showcase area is in a corner of the exhibit hall, not in a separate room.)
• Have a general idea of the kinds of acts that work well for you, but be available for delightful surprises that could shake it up a bit and tickle your audiences.
• Make sure you have plenty of business cards. Many artists won’t give you their promotional material unless you give them a card in return, showing them who you are and what performing series / presenting entity you are affiliated with. (Be prepared to let artists know how you would like to be contacted. If you prefer not to receive promotional emails, just cross out your email address or ask them not to add you to their list.)
• Get plenty of sleep the night before, pack a water bottle to stay well hydrated throughout the day, and dress for comfort. Wear comfy shoes and carry a purse or backpack that leaves your hands free. Although the Jamboree is fun, it can be exhausting; you’ll probably be on your feet most of the day and talk a great deal. TIP: There is an on-site café offering breakfast items, snacks and a full lunch for purchase. There are tables and chairs in the café as well as seating in the Showcase area.

At the Jamboree

• The Jamboree is a six-hour event. Even if you don’t need that much time, we recommend arriving on the early end so that you can see all the Showcase performances that you want to see. Also, it’s nice to catch exhibitors while they’re relatively fresh, before they’ve explained themselves to 50 other buyers.
• Check in and get your copy of the Guide to Colorado Performers and the Exhibitor Locator Map/Showcase Schedule, along with your badge and goodie bag.
• Best way to walk the hall? Here’s where our experts differ. Some recommend simply walking the hall. Other say you should take a preliminary walk through the exhibit hall, making note of any acts you particularly want to go back and talk to. Other buyers prefer to grab a cup of coffee or tea, sit down, see who’s at the event, and make notes on the exhibitor map to remind you of performers you want to talk to.
• If you come with a group of buyers, you can “divide and conquer,” assigning one section of the exhibit hall to each person, knowing that Kathy, the children’s performance buyer, will also keep an eye out and pick up literature that would be of interest for Henry, the cultural events guy. Some buyer groups do a preliminary foray before lunch, then convene at lunch, share notes, and then take their colleagues back to talk to particularly promising acts.
• Whichever approach you choose, when you walk the exhibit hall (or your assigned portion of it), simply choose one end and walk straight through to the other end, speaking briefly with each exhibitor unless they are clearly not a match to what you’re looking for. Don’t be shy about talking to the artists (or helping yourself to their candy or treats, even if you’re not a potential buyer for them!). Our artists are a casual and friendly group and they appreciate talent buyers—even those who don’t individually benefit them.
• Collect literature, promotional demos, ask questions, take notes. As mentioned above, be prepared to let the artists know how you like to be contacted.
• And make sure to be in the Showcase area to see the performers you particularly want to see. (The Showcase area is also a great place to sit down anytime you just need a rest.)

After the Jamboree

Back at the office, it’s easy to get swept into the other demands of your job and to let that pile of promo you collected sit and gather dust. Instead, carve out a little time a day or two after the Jamboree to:

• Make notes of any performers you would like to contact, and for which events; put this information in your calendar, task list, tickler file, or whatever system you use to get things done
• Pull out any CDs or DVDs that you are eager to review and put them in your stack of material to review
• Pass on to your colleagues any material you gathered for them or would like them to review
• File the information you don’t need now but will need later
• Discard the information you don’t need

Finally, put your Guide to Colorado Performers up on your shelf for easy reference over the next two years.

Sit back, put your feet up, and congratulate yourself on a well-thought-out, well-executed day at the Jamboree that will pay dividends through great future performances for your audience.

Presented by Jim Schwartzkopff • Venture West (venturewest.biz) • 303-329-6242

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