CGO Institute – Course Content

The 12 weeks teaching is split into two blocks of teaching, seminars, masterclasses & group/individual exercises. The 6 modules will be:

PESTEL

Your Industry Landscape and Ecology” examines the creative and business, political and social world in which you might wish to work.  Presenting a show in the UK is immensely different (and at times very similar) to presenting work in Japan or Malaysia, or Brazil or your country.  We will explore the cultural, political, economic, environmental, infrastructural and audience differences and challenges for us all. We will look at collaboration, long-term change strategies, and short-term reality.  Against a backdrop of the global pandemic, climate change, isolation, and the challenges against wellness in our society we will explore Why Culture, Why Creativity, and Why Now ?

Your Producing Spectrum” examines the range of producing work demanded by your industry, and focusses on the portfolio of skills you might bring.  Some of us aspire to invent something completely new, to commission a fine piece of art, to make it globally successful. Some of us relish working in a large organisation where so much can happen within the safety and challenges of a national organisation. Some of us want to work on the fringes of society, making small but deep impacts through our work.  Some of us want to be paid to work and make stuff happen.  Most of us want a mix of these things along, within what Guy Chapman of Target Live calls, the Producing Spectrum.  This module looks at many aspects of our craft/art/business and how we might choose to make work or find a place in any/all of these positions along the spectrum. 

Both these first two modules will allow you to consider your own creative practice, what drives you to invent or facilitate work, and what you would like to see change in your world, the wider creative landscape, and the world overall.

Budgeting and Finance”, ensures you understand how to build a budget, mindful that the numbers and items will vary vastly across scale of project and geographic base. Understanding investment, identifying shortfall before seeking grants or fundraising, and looking at the regulations and requirements we all face differently for reporting and management. To use Gareth Johnson, General Manager’s analogy, – every project has two scripts, the one the actor has and the one the producer/GM has. This second one is the budget. They are equally essential and if they move forward in harmony there is a chance of a successful show. If they diverge….

Theatre Royal Bury St Edmunds

Marketing and Fundraising”, two ‘artforms’ which are essential to any business and under-appreciated in most.  Who is the potential audience for this show, in this place, at this time ?  Who/What might be the missing link £$ between the cost of what I aspire to do, and the revenue which I can be sure to achieve with minimum risk? Who is not engaging with us who might buy a ticket or fund a project? What tools are used by other industries that could work for the arts? And what can we learn from our respective cultures and experience? The underlying challenges are the same for almost every nation, almost every scale of theatre, almost every type of business model. Marketing and Fundraising (or Development to use another term) are the key.

Your Team and the Law & Business” – explores the many ways of developing new work, rights, contracts and building new teams as the originating leader, creator, producer.  Producers build teams and getting the team right is the key. Responsible delegation, creative collaboration, careful management are skills to be learned. Securing rights, understanding copyright, creating collaboration agreements, the art of negotiation and building robust but fair contracts are essential parts of the business. This module draws your attention to existing legislation, tools to explore, and seeks to understand cultural differences across our global community.  

Your Future Making Work”  We have to know ourselves to sell ourselves, to understand our strengths and areas for development. We have to be intelligent about wellness and self protection. We each need a path to follow as we move forward to make work and find the right place for us. This module explores tools you can use in the longterm pathmaking for your career. It will seek to ensure that you leave with a network of supportive contacts, and an ability to articulate effectively your beliefs for the art and creativity of which you wish to be a part.  As employee or employer, sole trader or empire creator you remain an individual making their way in the world.  Hopefully with a Diploma in Creative Producing

[This course] provides crucial training for new producers and invests in a strong, experienced, diverse and exciting new generation of theatre producers, makers and administrators.”   Emma Martin / Director, Emma Martin Arts Marketing 

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