| THE BUSINESS ARTS | ||||
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Carnival Center program BY TYNISA TRAPPS Ileigh Reynolds considered herself solely an artist, but she has brushed up her business skills since opening Animate Objects Physical Theater in June 2006. Reynolds, whose Miami company contracts out performers for local theater and events, was unfamiliar with running a small business. She struggled with writing grant proposals, speaking with the media and presenting ideas to potential clients. Until recently, her emphasis had been on dance and choreography. |
She has a Bachelor of Fine Arts, but says, "I never took one business course in college. Now, I'm a CEO and there are a lot of issues I'm dealing with, like accounting and financing." She and other performing artists are getting help from the Carnival Center for the Performing Arts' spring workshops on presenting and writing for success. She was also accepted to Miami Made, a program the center launched in 2005 to encourage local artists to submit proposals for financial support and premieres at the center. |
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 Above, producer Felix Sama, Influens President Achim Nowak and actress/poet Deborah Magdalena take part in the Miami Made commissioning process. |
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expression. Lessons on writing business plans, marketing and idea or product and public speaking are covered during two-hour open discussions. ‘THE APPRENTICE’ FOR ARTISTS More than 60 people applied for this year’s program and from there, eight artists – ranging from choreographers to spoken word artists – were selected to further develop their projects. The group has been meeting for think-tank sessions September and will continue through December, learning ways to market their projects. “It’s like Donald Trump’s ‘The Apprentice’ for artists, said Achim Nowak, president of Influens, a Miami-based business training and coaching |
firm that partnered with the center for the program. “They must show they have a focused dialogue since they are seen as an artist and a business person. The stakes are high.” Nowak and his tam of consultants lead discussions on industry strategies and hold simulations where students pretend to present to a committee of financiers and critique each other’s business plans. The sessions are held every two weeks, allowing participants to meet bi-weekly goals. “This is a big deal to their careers,” Nowak said. “It’s not just about creating an artistic piece. The moment you approach a place like the Carnival Center, which is willing to give a big chunk of money to |
produce a work, they want to know they’re dealing with a serious professional who can manage money well.” Berwick Augustin, a Miami spoken word artist who performs under the name Underscore, said he realized the need for business expertise when performing at sold-out events at the Broward Center for the Performing Arts and the University of Miami. “The forums keep you accountable since you have goals to accomplish,” he said. “This has helped me rally sharpen my skills and become more focused.” Augustine said he has since developed a professional Web site and corresponding MySpace page, weekly newsletters and a blog. |
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FINDING HOMEGROWTH TALENT Costa said the center underwrites the $150 cost for the initial workshop sessions, so artists only pay a $25 fee. Augustin is proposing an urban contemporary poetic version of “Romeo and Juliet,” and Reynolds wants to produce an interactive show called “Dwelling,” where artists will live in a makeshift residence outside of the Carnival Center for a week and give live performances. Reynolds said even if her project is not commissioned, the experience will benefit her career. “If we don’t have the right tools, we can’t succeed,” she said. ttrapps@bizjournals.com | (954) 949-7514 |
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