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Artist Handbook - Adelaide Fringe


Adelaide Fringe 2012

HOUSEKEEPING                                                 VENUES
  Welcome                                            3          Choosing a venue                                  25
  The Artist Services Team                           3          Venue Agreements                                  27
  BankSA - Our Principal Partner                     4          Technical Equipment                               29
  What’s New for 2012?                               5          Signage                                           30
  How we communicate with you                        6          Temporary Venues                                  31
  Put It In Your Diary                               6          OH&S                                              32
  Greening Your Fringe Event                         6          Disability Access                                 34
  Introduction                                       7          Front of House                                    36
REGISTERING                                                  MARKETING
  Basic Steps                                        8         What Fringe Does                                   37
  Fees                                               9         Introduction                                       38
  What Fringe Offers                                 10        Planning                                           39
  Artist Resources Section                           11        Your Campaign                                      40
FROM FERS TO THE FRINGE GUIDE                                  Selling Yourself                                   41
  50 Word Event Description                          12        Publicity                                          45
  Fringe Guide Acceptance                            12        Advertising                                        46
  The Fringe Guide                                   12      MEDIA
ARTIST SERVICES AND ASSISTANCE                                 What makes News                                    48
  Adelaide Fringe Information Sessions               13        Target Your Message                                49
  Media List                                         13        Writing a Media Release                            50
  Fringe Fair                                        13      ART & DESIGN
  Artist Bags and Passes                             13        Introduction                                       53
  Survival Guide and Discount Directory              13        Venues                                             54
  The Artist Bureau                                  13        Venue Agreements                                   56
INTERNATIONAL AND INTERSTATE ARTISTS                           Transporting your work                             57
   Visa Assistance for International Artists         14        Installation                                       58
   Tax Issues                                        14        Exhibition Opening                                 59
   Travel and Accommodation                          14        Catalogues                                         60
PLANNING                                                       Staffing	     	        	         	        	        61
   Producing your event                              15        Documentation                                      61
   Event Timeline                                    15      APPENDIX                                             62
   Budgets                                           16
   Sample Budget Template                            17
   Grants                                            18
   Sponsorship                                       19
  Get it in Writing                                  20
  Legal Matters                                      21
  Insurance                                          22
  Taxation                                           23
  Safety (OHS, Smoking, Venues & Public Safety)      24

Disclaimer & Privacy Policy
This Artist Handbook booklet and the Taking Part pages on the Adelaide Fringe website are updated as new information
comes to hand. This information was correct at 29th July 2011. To make sure you have the latest copy of this handbook
contact Eugene Suleau, Artist Services Co-ordinator on +61 8 8100 2055 or email

This document was created by the Artist Services department for Adelaide Fringe 2012. It may not be reproduced without
prior permission from Adelaide Fringe Inc.

                                                                                  ARTIST HANDBOOK
                                                                                  Adelaide Fringe 2012

Welcome to Adelaide Fringe 2012! Held in late February and early March every year, Adelaide Fringe is an
internationally renowned open-access three week arts festival. Unlike a curated festival, the open-access nature of
Adelaide Fringe means that anyone with artistic vision and drive is able to participate and present their work.

It is the largest and most popular arts festival in Australia, which means it’s the perfect showcase for you to present your
work, reach new audiences and, through the Honey Pot scheme, get your work seen by a huge network of promoters,
venue programmers and festival directors from across Australia and the world.

Adelaide Fringe also creates a number of other initiatives and activities to help artists build new audiences and sell more
tickets. You can read all about them inside this Artist Handbook. I also encourage you to read the Artist Resources in
FERS, make use of the Artists Bureau and talk to the Artist Services team. They know what they’re talking about and
their advice is priceless.

We hope you decide to participate in Adelaide Fringe 2012 and hope to see you down at the Fringe Club during your
season. This is your home away from home to network, be entertained or simply relax with a beer.

Greg Clarke
Director // Adelaide Fringe

The Artist Services Team are here to help you with all aspects of your Fringe event. We can be contacted via, on the Artist Hotline on +61 8 8100 2022, or you can get in touch with us directly:

Artist Services Manager
Michelle Wigg                                       +61 8 8100 2064

Artist Services & FERS Co-ordinator
Eugene Suleau                                          +61 8 8100 2055

Venues Co-ordinator
Andrew Dundon                                          +61 8 8100 2046

Ticketing Co-ordinator
Jen Mackie                                                +61 8 8100 2029

Artist Services Co-ordinator - Entertainment Visas
Rebecca Meston                                        +61 8 8100 2026

YEP Co-ordinator
Monica Bachmayer                                       +61 8 8100 2011

If	you	need	to	speak	to	anyone	else	in	the	Fringe	office,	just	call	the	main	line	on	+61	8	8100	2000,	or	email If you want some face-to-face action visit us at 105 Hindley St, Adelaide.

 When you have finished reading this Artist Handbook, why not pass it onto someone else in your group, or
 keep it for future reference. When the time comes, please recycle or shred and add to compost.                                                                                                      3
Adelaide Fringe 2012


BankSA	and	Adelaide	Fringe	jointly	announced	in	November	2005,	BankSA’s	Principal	Partner	sponsorship	of	the	
Adelaide Fringe up to and including 2013.

The Principal Partner sponsorship incorporates much more than the provision of sponsorship dollars in exchange for
branding opportunities. The partnership is heavily focused on how best to enhance and share our vibrant community

The bank pulls out all stops to help Adelaide Fringe enhance and share this iconic event with even more members of the
community, creating initiatives to help bring artists and audiences together.

    A Note About Sponsorship

    BankSA is the Principal Partner of the Adelaide Fringe. This means registered artists must not actively seek or
    accept	sponsorship	from	any	other	financial	service	provider	for	their	Fringe	season.	This	includes	any	bank,	lender,	
    insurance	agencies	or	broker	of	any	form.	Any	sponsorship	of	this	nature	that	conflicts	with	the	Adelaide	Fringe’s	
    relationship with BankSA may result in the withdrawal of your event from the Fringe program.

    Any	registered	artists	that	have	an	existing	and	ongoing	sponsorship	with	a	bank,	lender	or	broker	that	may	conflict	
    with our Principal Partner, shall not display any logos or make any reference to that sponsorship on any marketing
    materials (whether printed, on-line, in advertisements or within any other media form) directly related to their Fringe
    season. These materials should carry the Adelaide Fringe 2012 logo.

    It’s important we all do our bit to ensure we protect and acknowledge BankSA’s generous support of the Adelaide

    For	further	clarification	about	the	use	of	logos	or	sponsorship	conditions,	please	contact	Artist	Services	Co-ordinator,	
    Eugene Suleau, on +61 8 8100 2055 or email

BankSA’s and Support Act                           For more information about BankSA’s or is an initiative of BankSA to help bring           to register to be a part of Support Act, contact the Artist
artists and audiences closer together. Audiences can              Services department.
review and rate shows, check out Fringe photo galleries
                                                                  Also, did you know that the BankSA branch in Rundle
and view vox pop reviews. It is also the place to get last
                                                                  Mall offers Fringe artists with a range of services, whether
minute RushTix discounted tickets and access BankSA’s
                                                                  you are a BankSA customer or not! From instant on the
Support Act tickets to a selection of independently
                                                                  spot clearing of cheques, paid in cash or automatically
produced	events	for	just	$10!
                                                                  transferred	to	your	financial	institution,	to	assistance	with	
To get your word of mouth publicity going, we encourage           travellers cheques, exchanging currency or overseas
you to promote to your audience to get             transfers,	BankSA	are	here	to	help	you	easily	enjoy	the	
them online and talking about your show or exhibition. You        financial	rewards	of	Fringe	-	with	many	service	fees	
can grab some	flyers	from	the	Artist	Bureau	       waived or lowered for Fringe Artists*.
when it opens in February.
                                                                  * Conditions apply.

                                                                                   ARTIST HANDBOOK
                                                                                   Adelaide Fringe 2012

We’re always movin’ and shakin’ here at the Fringe in an        This initiative will showcase Fringe venues and the work
effort to deliver the world’s leading Fringe festival.          of the artists to new audiences, leading to great word of
                                                                mouth, increased ticket sales and increased visitation to
Opening Night Parade
                                                                the hundreds of Fringe venues throughout the city.
Adelaide Fringe has grown to become the biggest arts
event in SA, and we’ve decided to have our parade – the         Free Shuttle Bus: The Tour of The Unexpected
hallmark celebration heralding the start of the Fringe, ‘slap   In line with our key aim in 2012 to encourage audiences to
bang’ in the centre of the city.                                visit and discover the hundreds of diverse venues, shows
                                                                and special events throughout the city, we propose to run
We plan to run the Parade from Victoria Square down
                                                                a free Fringe shuttle bus service around the CBD from
King William St and we encourage all Fringe registered
                                                                24 February to 18 March, running from 6pm to midnight.
artists and venues to get on board and participate. In 2012
                                                                We would create a series of special Fringe bus stops at
the Parade will happen after dark from 8:00 – 9:00pm as
                                                                existing bus stops, central to Fringe venue hubs.
we ‘light up’ the city in celebration of the opening of the
Adelaide Fringe.                                                The buses would be branded as the ‘Tour of the
                                                                Unexpected’ and will be backed up with an ad campaign
Directly after the Parade we want the tens of thousands
                                                                that encourages people to get on the bus for an adventure
of ‘punters’ to stream out across the city into every
                                                                tour like no other, where anything can happen and you will
Fringe venue to carry on the night’s celebrations. We’re
                                                                experience things you have never seen before. We’ll have
encouraging artists, producers, promoters and venues to
                                                                on-board tour guides who’ll point out venues and shows
program shows from 9.30pm or from 6.30-7.30pm at the
                                                                along the bus route.
special	opening	night	rate	of	$5	(for	this	night	only,	the	
Fringe will waive the inside charge on tickets sold at this     In addition, a ‘Tour of the Unexpected’ pocket guide will be
special price).                                                 created highlighting the free bus service and listing Fringe
                                                                venues located in the CBD, on or near the proposed bus
We’re also encouraging venue managers to get creative,
                                                                route. Venues in the CBD will be listed free of charge but
think outside the square and create something with wow-
                                                                also have the opportunity to buy advertising in the Tour
factor on the night to attract folks to your venue. You
may want to consider hosting a showcase of your acts to
promote your entire Fringe program, develop a mini-street       Art & Design Online
party or temporary outdoor bar to take advantage of the         Fringe is getting all ‘high tech’ on you! Art & Design Online
huge amount of people moving throughout the city. We            is a new initiative, giving the opportunity to all Fringe
invite you to dream up your own ‘Fringe opening night           registered Art & Design artists to showcase a sample of
celebrations’ in and around your venues.                        their work while promoting their exhibition and events as a
                                                                part of an online gallery.
The aim of the night is to promote and celebrate all of the
artists, shows and venues throughout the city. We will be
developing a marketing campaign to not only promote the
Parade on opening night but all of the shows that offer         For more info on the other Fringe-run initiatives or to
$5	tickets	as	well	as	the	special	opening	night	activities	     register your interest in the above, check out pages 10 &
at registered Adelaide Fringe venues ensuring ‘bums on          11 of this handbook.
seats’ from the get go.                                                                                                    5
Adelaide Fringe 2012

Artist Bulletins                                                 Twitter
Sent via email every fortnight or so from August, and            If you’re on Twitter and want to be kept up-to-date with
available in the Artist Resources News page on FERS, the         Fringe	happenings,	just	follow	@adelaide_fringe.	When	
bulletins will include updates of Fringe news, reminders of      you’re tweeting about Adelaide Fringe, use #adlfringe.
deadlines, and information on artist opportunities. Be sure
                                                                 Artist Resources News
to share these with others in your group and please let us
know if additional people need to receive it.                    Available via your FERS login, the Artist Resources News
                                                                 page will have all the latest information, including an
                                                                 archive of Artist Bulletins.
We post important notices on deadlines and other
information on our dedicated Artists Page. Logon to              Adelaide Fringe e-news
facebook and search for Adelaide Fringe Artists.                 To keep informed of everything that’s happening in Fringe
                                                                 land	(not	just	artist	related	stuff),	sign	up	to	our	e-news.	
                                                                 Visit and click on the ‘sign-up for
                                                                 e-news’ link.

 28 July                 Fringe Information Sessions - Melbourne
 2 August                Fringe Information Sessions - Sydney
 3 August                Artist Registrations Open
 4 August                Fringe Information Sessions - Brisbane
 11 August               Fringe Information Session - Perth
 14 August               Fringe Information Session - Edinburgh
 September TBC           Fringe Information Session - Adelaide
 12 October              Artist Registrations Close - 5pm
 17 October              Voucher Sales open
 10 December             FringeTIX opens and tickets go on sale / Fringe Guide released
 24 February, 2012       Adelaide Fringe 2012 Opening Night Parade
 18 March, 2012          Last day of the Fringe / Fringe Awards

    Greening Your Fringe Event
    Adelaide Fringe encourages you to consider the environmental impact of your event, and to investigate ways
    to reduce this impact. This is something you can do in conjunction with your venue, so why not sit down with
    them and talk rubbish... and the best way to dispose of it! Most venues will already have some practices in
    place but there may be other things you can do to make your event more environmentally sustainable.

    The following websites contain information and suggestions on how to make your Fringe Greener:

                                                                                                        - 2010 FRINGE ARTIST

                                                                                    ARTIST HANDBOOK
                                                                                    Adelaide Fringe 2012

Whether you’re reading this at the start of registrations or     The	Fringe	office	and	staff,	the	Fringe	websites	
towards the end, it’s never too late to start planning your      (, FERS and FringeTIX), this
event. Of course, the more time you have the better, but         Artist Handbook and all our other artist resources all aim
even if you are starting late, the more organised you are        to help you make the right decisions for your group or
and	the	more	information	you	have	at	your	fingertips,	the	       company.
better off you’ll be... and this is where this Artist Handbook
                                                                 All the decisions you make in regard to marketing, venue
comes in.
                                                                 contracts, the type of insurance you take or anything else
                                                                 to do with your event, are your decisions. It is important
Putting on an event for Adelaide Fringe will generally
                                                                 to	realise	that	these	decisions	are	as	significant	as	the	
mean	you’ll	be	taking	some	type	of	financial	risk	and	
                                                                 decisions you have made about the content and style of
working very hard into the bargain.
                                                                 your work.
So why are you doing it?

•	   Is it for professional development?                         EVENT CATEGORIES
•	   To extend and develop your networks?                        Your event will fall into either one of our two streams:

•	   To develop a show you would eventually like to tour?        1) Performing Arts & Events

•	   To	lift	your	media	profile?                                 The Performing Arts & Events stream is the largest of the
                                                                 Fringe, and includes (but is not limited to) cabaret, circus,
•	   To	find	new	audiences	for	your	work?
                                                                 comedy,	dance,	film,	music,	puppetry,	theatre,	and	writing/
•	   For	experience	in	putting	on	an	event?	                     poetry.
•	   For fun?
                                                                 This category also incorporates community events and
•	   To make money                                               autonomous, independent festivals.

These	are	all	valid	objectives	and	if	you	know	your	aims	        2) Art & Design
from the outset they can inform your decision making             Formerly known as Visual Arts, the Art & Design stream
throughout	the	whole	project.                                    features	solo	and	group	exhibitions,	site	specific	works	
                                                                 and installations, from every art form. It has a history of
Your event will likely be one of more than 700 and you’ll
                                                                 vibrant experimental art and attracts enormous attention
need to work hard to get those punters through the door of
                                                                 from the public. Artists take responsibility for the sale of
your show or exhibition. Developing an effective marketing
                                                                 artwork and exhibition issues, including payments with
campaign and taking advantage of all the excellent Fringe
                                                                 galleries or other venues.
marketing and special event opportunities available to you,
will give you the best chance of achieving your desired          Now all of that’s out of the way...
outcomes, whatever they may be.
                                                                 LET’S REGISTER!
The role of the Fringe
Adelaide Fringe Inc. is primarily a service organisation for
artists, presenters and venues, providing opportunities,
support and advice to help them make the most of their
Fringe experience. The Fringe does not produce events,
but rather provides an umbrella event in which artists
participate.                                                                                                        7
Adelaide Fringe 2012

Here’s the very least you need to do to be part of the action in 2012. You can complete these steps in any order, but this
is	the	most	efficient	way	of	going	about	things.

                                                               FRINGE EVENT REGISTRATION SITE (FERS)
                                                               The Fringe Event Registration Site (FERS) allows you to
                                                               enter all details of your event, including description, venue,
                                                               dates and prices, as well as register for Adelaide Fringe
                                                               event opportunities and artist passes. You don’t have to
                                                               enter all your details at once, but the sooner you start,
                                                               the sooner you can get assistance from us. (Signing up to
                                                               FERS is FREE!)

                                                               To start your registration:
                                                               •	   go to
                                                               •	   click the ‘Register Now’ button
                                                               •	   follow the prompts to create a username and

                                                               If need be, you are also able to register off-line using a
                                                               hard-copy form. Contact Artist Services on +61 8 8100
                                                               2055 or email and we’ll
                                                               post one out.

                                                               VENUES ASSISTANCE
                                                               Finding the right venue as soon as possible is critical, but
                                                               if you don’t have a venue or don’t know where to look,
                                                               don’t despair! Here’s what to do:
                                                               •	   Consult the Venues List - Available in FERS, this
                                                                    contains detailed information on venues within the
                                                                    CBD and suburbs, from theatres, pubs, galleries,
                                                                    empty spaces and everything in between.

                                                               •	   Contact the Venues Co-ordinator on +61 8 8100 2046
                                                                    or email You’ll be
                                                                    given	specific	advice	as	to	which	venue	to	approach,	
                                                                    based on your particular needs.

                                                               If	 you	 need	 assistance	 in	 finding	 a	 venue,	 register	 your	
                                                               event as soon as possible for the best choice. Come 12th
                                                               October, when artist registrations close, venue availability
                                                               is extremely limited. If you already have a venue organised
                                                               – that’s great! Just enter your venue details into FERS
                                                               when you register your event.

                                                               More information on venues can be found on page 25 of
                                                               this handbook.

                                                                                  ARTIST HANDBOOK
                                                                                  Adelaide Fringe 2012

REGISTRATION FEES                                               Cancellation Fee
•	   $395	for	performing	arts	and	events	of	4	sessions	or	      If your event is cancelled you may be entitled to a full or
     more	($330	for	Art	&	Design)                               part refund of the registration fee you have paid. There
                                                                are no refunds if you cancel your event(s) after the
•	   $210	for	events	of	3	sessions	or	less.
                                                                Fringe Guide has gone to print, usually in early
The registration fee covers:                                    December. In accordance with the policy of Adelaide

•	   your event listing in the Adelaide Fringe printed Guide    Fringe Inc, the following cancellation fees apply:

•	   a listing on the FringeTIX website                          Cancellation Date                              Refund

•	   ticket sales (for ticketed events) through FringeTIX -      3 August - 31 October 2011                     100%
     online,	through	box	offices	and	by	phone.	                  1 November - 30 November 2011                  50%
                                                                 1 December onward                              Nil
The fee entitles you to top-notch support and services
from the Artist Services team, plus it give you access to
Publicity and Marketing staff and much more. (NOTE:
Artists are responsible for all of the presentation and
production costs relating to their events.)

Thanks	to	a	private	ruling	by	the	Australian	Taxation	Office	
our registration fees are GST free.

How to Pay
You can now pay online, via FERS. Just click on the link at
the bottom of Step 3 to be taken to the payment page.

Alternatively, you can complete the registration fee
payment form (included on page 82 or downloadable from
FERS), and enclose with your payment. Payments can
be made by credit card, money order, EFTPOS, cheque
(payable to Adelaide Fringe Inc) via mail, telephone or in
person. Cash payments can only be received in person,
please	do	not	mail	any	cash	to	the	Fringe	office.

If you would like to make a bank transfer, get in touch with
us and we’ll forward you our bank account details.

When To Pay
Registration fees must be received in full by 5pm,              Fringe	in	the	Mall	Box	Office.	Photo:	Tony	Virgo
Wednesday 12th October 2011.

Remember... You are not officially registered until the
Fringe receives your full registration fee.                                                                                                     9
Adelaide Fringe 2012

Adelaide Fringe produces a range of initiatives for              Fringe in the Mall
registered artists to take part in. They are designed to         The Caravan Showcase Stage is an opportunity for every
give artists access to promotional, networking, skills           Fringe registered artist, company, venue or event to
development and income generating activities. Your               promote their work to the 450,000 people who visit the
event may be suitable for some or all of the following           Mall every week. A huge success in 2011, the showcase
opportunities:                                                   stage, is located under the Gawler Place canopy in Rundle
                                                                 Mall. Interview slots are also available for artists/events/
Honey Pot
                                                                 exhibitions that are not suitable to the live performance
The Honey Pot program is designed to facilitate the
building of long term genuine relationships between
participating Fringe artists and arts industry professionals     A	FringeTIX	box	office	will	be	located	adjacent	to	the	
to create opportunities for works to have a life beyond          showcase stage to encourage audiences to buy tickets on
Adelaide Fringe.                                                 the spot.

Adelaide	Fringe	supports	a	selection	of	the	finest	              You can indicate your interest in taking part when you
local, national and international producers, presenters          register for Adelaide Fringe. Keep an eye out for more
and programmers and individually tailors their festival          information about guidelines, the application process,
experience. We point them towards the artists and                dates, times and details via the Artist Bulletins later in the
companies that match their programming tastes, across            year.
all artforms. Honey Pot is an opportunity for professional
development, networking and much more.
                                                                 “THE CARAVAN STAGE GAVE US THE ABILITY TO
If you consider your work, event or exhibition to be ready       PERFORM TO POTENTIAL AUDIENCE MEMBERS WHO
to tour to other festivals and venues (or if this is your goal   MAY NOT NORMALLY ENGAGE WITH THE FRINGE. EACH
for the near future), please express your interest at the        TIME WE DID A SPOT WE SOLD AT LEAST 10 TICKETS.”
point of registration and extend the life of your work!                                                 - 2011 FRINGE ARTIST

FUSE - Music Industry Conference & Showcase
                                                                 Adelaide Fringe Awards
                                                                 The Adelaide Fringe Awards celebrate and recognise
Fuse is Australia’s longest running music industry
                                                                 outstanding contemporary arts practice as determined
conference and showcase festival, with over 5,000
                                                                 by a panel of industry peers and professionals. Prizes for
people participating in over 30 venues. It’s where artists,
                                                                 award recipients include cash, professional development
industry and music fans unite for three days of networking,
                                                                 and/or touring opportunities as well as a recognisable
business building and celebrating the best that Australian
                                                                 Adelaide Fringe stamp of success for future promotional
music has to offer.
                                                                 use. All registered Fringe artists are invited to self-
Held annually in Adelaide, South Australia and produced          nominate for the awards at the time of registration.
by Adelaide Fringe, Fuse offers musicians the opportunity
                                                                 Further information on Fringe Awards will be available
to play for, and learn from, leading music industry
                                                                 in future Artist Bulletins and in the FERS section of our
professionals. Combining three nights of the hottest new
music from across the country with two days of insightful
conference and networking activities and one day of
intensive master-classes.

For more information and to register contact:

                                                                                 ARTIST HANDBOOK
                                                                                 Adelaide Fringe 2012

YEP                                                            Fringe Club
The Adelaide Fringe Youth Engagement Program (YEP)             An exclusive haven custom built and designed in a
promotes suitable Fringe events to schools across South        beautiful setting amongst the trees of Rymill Park
Australia and interstate.                                      (Mullawirraburka), the Fringe Club welcomes Adelaide
                                                               Fringe artists, staff, board, sponsors, volunteers, VIPs as
If you have a show that is suitable for school-aged
                                                               well as pass holders from other arts organisations and
audiences, help build the next generation of arts
enthusiasts and sell more tickets in the process. Register
your interest in participating in the Youth Engagement         With nightly food and drink discounts for artists the club
Program and the YEP Co-ordinator will contact you to           is programmed with DJs, Fringe acts and hosts six nights
gather more information about your involvement.                a week, and is the perfect place to grab a drink, have a
                                                               dance and mingle with artists and industry peeps from all
For more information on YEP, contact Monica Bachmayer
                                                               over the world. Entry is via your Artist Pass, available from
                                                               the Artist Bureau when it opens in February 2012.

 To express your interest in any of the above, just
 tick the appropriate “yes” box on the Event/Artist
 Opportunities page at Step 3 when you register
 in FERS. Some opportunities will require you to
 complete an application form.

 Where to go for all the info!

FERS	is	not	just	the	place	where	you	register	your	            Links to the Artist Resource Section appear on the right
event. It is also the gateway to a wealth of resources and     hand side of FERS and will be available at every step of
information, all found in the Artist Resources section. The    your registration. Your Fringe experience will be made
answers to most of your questions will be in there, so USE
                                                               much easier with these resources. Updates of new
IT! The individual sections are:
                                                               information will be emailed via the Artist Bulletins so you
•	   News                                                      will know when to check in for the latest offerings.
•	   Important Dates

•	   Contact Us / FAQ

•	   Taking Part

•	   Further Considerations

•	   Venue Information

•	   Ticketing

•	   What Fringe Offers

•	   Marketing & Media

•	   Art & Design

•	   Downloads & Links

                                                         A screen grab of the Artist Resources Section.                                                                                                    11
Adelaide Fringe 2012

50 Word Event Description
Your registration fee entitles you to listing in the Adelaide
Fringe 2012 Guide. This includes a 50 word description
and an image, plus date, time and ticket information. Think
carefully about your 50 words and the image you choose:
they will snare your audience, but could also make them
skim over to the next entry.

Fringe Guide Event Listing Acceptance through FERS
FERS enables you to view a sample of how your event
listings will appear in the Fringe Guide, and to make
changes to the displayed Presenter name if required.
Once the entry is complete and correct (after you’ve
checked for typos, and made sure your dates, times,
prices and age ratings are correct), you’ll need to accept
the guide entry on-line in FERS.

Please note: You will not be able to sign-off until Fringe
has	confirmed	with	the	venue	that	your	booking	has	been	
received. This process can take up to a week and does
not affect your registration status.

The Fringe Guide
Once registrations close, on Wednesday 12th October
2011, all event data will then be handed to our graphic
design team, who will then lay out the event listings to
become the Adelaide Fringe 2012 Fringe Guide.

The Artist Services team will then proof the artwork
against the sign-off listings to ensure that each entry in
the Guide is exactly what was signed off on. This runs to
a tight schedule, so it is vital that you accept your Guide
entry as soon as you are able to after you complete your

Around 330,000 copies of the Fringe Guide will be
distributed all over Adelaide and in the local daily
newspaper, The Advertiser. The Guide is the primary
source of information for audiences when choosing which
shows to see. It also directs people to FringeTIX, where
they can purchase tickets.

                                                                                          ARTIST HANDBOOK
                                                                                          Adelaide Fringe 2012

 During the registration period and into the lead-up to the Fringe, we produce a number of guides and other
 services designed to bring you all the info you need to help you maximise your Adelaide Fringe experience.

Adelaide Fringe Information Sessions                                The Artist Bureau
Held	in	the	major	capital	cities	at	various	times	from	July	        Opening two weeks before the Fringe, and every day
to October, and in Edinburgh in August, the information             during, the Artist Bureau is a ‘one-stop shop’ for Fringe
sessions give prospective artists the chance to meet staff          artists.	It’s	where	you’ll	find	the	Artist	Services	team,	who	
and	find	out	how	they	can	take	part	in	Adelaide	Fringe.	            will be able to assist you in any way they can, and with
Check the News page in Artist Resources for updates on              any of the following:
session locations, dates and times.
                                                                    Issuing of sales reports
Media List                                                          Booking of complimentary tickets
The Media List, released in November, contains contact              Advice from Fringe staff on marketing/publicity
details	for	all	the	major	media	outlets	in	Adelaide	and	            Internet access
around the country.                                                 Printing facilities
                                                                    Local information
Fringe Fair
                                                                    Artist networking opportunities and noticeboards
Held in Adelaide in late November, this day-long event will         Collection of Artist Bags and Passes
feature representatives from several Fringe departments             Discount guide for local good & services
who’ll be providing information on marketing, publicity and
sponsorship strategies. Fringe sponsors will also be on             The	Bureau	will	be	located	in	the	main	Fringe	office	at	105	
hand to give you special deals on printing, advertising,            Hindley	St.	Opening	dates	and	hours	will	be	confirmed	at	
vehicle	hire...	just	to	name	a	few.                                 a later date.

This is a free session, with artists welcome to come at any
time during the day. Information regarding the Fair will be
sent via the Artist Bulletins later in the year.

Artist Bags & Passes                                                “START PLANNING AND ORGANISATION MUCH EARLIER,
All production companies will receive one Artist Bag per            E.G. IN JUNE. TRAVEL OVER AND CHECK OUT VENUES
event, which acts as a useful memento of your Fringe                PRIOR TO BOOKING. DO YOUR HOMEWORK, TALK TO
experience. You’ll also have the chance to order extra              OTHERS WHO HAVE ATTENDED, BE GUIDED BY THE
bags when you pay your registration fee.                            FRINGE STAFF - THEY TELL IT HOW IT IS.”
                                                                                                           - 2011 FRINGE ARTIST
All artists are entitled to an Artist Pass which can be
used to access discounts off a whole range of events,
merchandise and services for the duration of the Fringe.

Survival Guide & Discount Directory
This guide is full of tips and tricks to help you get through
three weeks of Fringing. From things to do on your days
off to adding a Rush ticket price, it’s all in there. Plus you’ll
find	discounts	to	a	whole	heap	of	goods	and	services,	
kindly offered by local businesses, plus a listing of free and
discounted shows offered by your fellow artists.                                                                                                        13
Adelaide Fringe 2012

Visa Assistance for International Artists                      Taxation Issues
Non-resident artists or companies intending to enter and       Non-resident artists who earn income through their event
perform or exhibit in Australia as part of Adelaide Fringe     in Adelaide Fringe 2012 will need to be aware of their
2012 need to submit an Entertainment Visa application          obligations under Australian taxation law as it applies to
during the registration process. We then liaise with the       them.
Immigration Department who assess each case. If your
                                                               Please contact Mirella Innocente, Finance Manager, for
application is approved the Fringe will notify you by email.
                                                               further information and advice on +61 8 8100 2014 or
Information is available online in FERS.
You can visit the Australian Department of Immigration and
Citizenship (DIAC) website at for further      Travel & Accommodation
information about visiting Australia from overseas. There      February and March can be a busy tourist time in
will be more information in FERS regarding international       Adelaide.	With	the	Fringe	being	just	one	of	several	events	
artist Entertainment Visas.                                    all	crammed	into	a	few	weeks,	finding	a	bed	to	rest	your	
                                                               head can be tricky business.
You will be contacted by Adelaide Fringe regarding
applying for your visa. It is advisable however that you       It is therefore well worth thinking about your
start collecting your documentation early to avoid delays      accommodation options as soon as possible, particularly if
later.                                                         you have any special requirements.

                                                               While it is up to you to arrange your accommodation, we
 IMPORTANT INFORMATION ON TOURIST VISAS                        can give you some ideas. The Artist Resources section of
 As a culturally significant event, Adelaide Fringe            FERS contains a Visitor Information section, where you
 is exempt from Entertainment Visa nomination                  can, amongst other things, browse our Accommodation
 and application fees for off-shore applications (i.e.         Guide or view listings on the Rooms Available noticeboard.
 where the artist is out of Australia at the time of
 Entertainment Visa application).                              Taking the time to work out what type of accommodation
                                                               you need starting your research early will make locating
 However, if you will be on-shore at the time of
                                                               the perfect place more likely for you. Leave it till the last
 application for an Entertainment Visa to perform at
 Adelaide Fringe, the visa application fee will apply          minute and you could have to compromise.
 and will be on-charged to you. (As at Sept 2011, this
 fee is $305 per application.View charges here:

If you have any queries regarding international visas
                                                               “GET TO ADELAIDE A WEEK BEFORE YOU START TO
please contact Michelle Wigg, Artist Services Manager, at
                                                               FLYER AND MARKET YOUR SHOW. ORGANISE AN EARLY or +61 8 8100 2064.
                                                               REVIEW. SIGN A LEASE AGREEMENT WITH YOUR VENUE.
                                                               DON’T LEAVE EVERYTHING TO THE LAST MINUTE.”
                                                                                                      - 2011 FRINGE ARTIST

                                                                                     ARTIST HANDBOOK
                                                                                     Adelaide Fringe 2012

                                                                 EVENT TIMELINE
Producing your event
                                                                 July/August 2011:
Being across all aspects of your event is important. Here
                                                                 •       Attend info sessions
are a few tips to help you manage things:
                                                                 August 2011:
•	     Choose	a	project	co-ordinator	from	your	group             •	      Decide on the show/exhibition you want to present

•	     Delegate tasks within the group and make sure             •	      Start negotiating with venues
       everyone is aware of relevant deadlines                   September 2011:
                                                                 •	      Finalise registration in FERS
•	     Keep a copy of all paperwork (such as your sign-off,
                                                                 •	      Finalise venue agreement
       this handbook, venue hire agreement) and make sure
       you	file	it	all	carefully.                                October 2011:
                                                                 •	      Before close of registrations on Wed 12 October
•	     Keep members of the group informed - forward them                 - Check these are correct: event description, event
       the Artist Bulletins and add them to the Fringe Artists           image, dates, times and prices.
       Facebook group
                                                                 •	      Sign up for Event Opportunities in FERS
•	     Make sure everyone involved has access to important       •	      Sign off on your Guide Entry (once Fringe has
       information and are aware of relevant dates and                   confirmed	your	booking	with	venue)
       deadlines.                                                November 2011:
                                                                 •	      Extended 500 word event description in FERS due
Event Timeline
                                                                 •	      Attend Fringe Fair
To assist you to manage the demands on your time and
                                                                 •	      Prepare media kit (media releases and photos) and
energy, we have prepared a simple timeline of important                  upload to FERS
dates and deadlines (this is not an exhaustive list... there     •	      Organise	marketing	campaign	(e.g.	Get	flyers	and	
are many dates and deadlines to be aware of. We’ll let you               poster designs ready)
know via Artist Bulletins when something is due).                December 2011:
                                                                 •	      Organise accommodation (if interstate or
Keep this timeline close at hand, refer to it often, make
sure the rest of your group are aware of key dates.
                                                                 •	      Contact distribution companies, for distribution of
                                                                         posters	and	flyers	in	January/February
                                                                 •	      Enter number of Artist Passes needed in FERS
     FESTIVAL CIRCUIT                                            January 2012:
     Adelaide is just one of several Fringe festivals            •	      Re-confirm	final	details	with	venue
     taking place in this part of the world in February          •	      Start trying to build interest with media
     and March. To get the most traction out of your             •	      Clarify	your	box	office/front	of	house	procedures
     work, you might like to consider taking your show
                                                                 •	      Familiarise yourself with sales reports
     on tour?
                                                                 February 2012:
     Perth Fringe:                       25 Jan - 18 Feb              Start of Fringe:

     Wellington Fringe (NZ):             10 Feb - 3 Mar          •	      Visit the Artist Bureau at 105 Hindley St, to collect
                                                                         Artist Bags, passes and to familiarise yourself with
     Adelaide Fringe:                    24 Feb - 18 Mar                 services available.
     Dundedin Fringe (NZ):               16 - 25 Mar                  During Fringe:
                                                                 •	      Visit Fringe Club
     Melbourne Comedy Festival:          28 Mar - 28 April
                                                                 •	      Visit Artist Bureau (internet, photocopying, advice,
                                                                         Rush Tix etc)                                                                                                        15
Adelaide Fringe 2012

A	budget	will	help	you	work	out	your	financial	exposure	         By	dividing	the	amount	of	box	office	income	you	need	to	
and where best to spend your money. Most Fringe artists          make, by the number of sessions in your run, you can
will	find	that	their	expenditure	greatly	exceeds	their	income	   work out how much you need to make each session.
from ticket and other sales, so you will need to decide          Example: you are planning on 10 sessions in your season
exactly how much you are willing to put into your event.         and after doing your budget you discover the amount you
Remember:	breaking	even	or	making	a	profit	may	not	be	           need	to	break	even	is	$7500.	So	the	amount	you	would	
essential for you if your goals are to get exposure or to        need	to	make	per	session	is	$750.
increase your networks.
                                                                 It is also important to know the maximum number of tickets
Where to start                                                   you	can	sell	per	session.	If	you	haven’t	confirmed	a	venue	
Consider every conceivable area of expenditure. You              yet you can still work out your ticket prices based on
should also plan a contingency of at least 10% of your           your desired venue capacity (once you do have a venue
total budget to cover unforeseen expenses. There’ll be           confirmed	go	back	and	look	at	your	ticket	prices	again	to	
a difference between what you want to spend and what             make sure you can still cover your expenses).
you can spend – it’s important to look at both extremes
carefully and then work through line by line to bring the        You should look at your ticket prices in a number of ways.
amount you want to spend closer to the amount that you           Using the example of a venue that seats 150, to make
can. We’ve included a sample budget on the following             $750	per	session,	your	ticket	pricing	would	look	like	this:
page to help get you started. Not all categories will relate      %      NO OF    FORMULA     TICKET    BOOK    TOTAL     RETAIL
                                                                  SOLD   TIX                  PRICE     FEE*              ROUND
to you, but this will give you a general idea as to what                                                                  UP
you’ll need to consider.                                          100%   150      (750/150)   $5.00     $1.70   $6.70     $7.00
                                                                  90%    135      (750/135)   $5.55     $1.70   $7.25     $7.50
                                                                  80%    120      (750/120)   $6.25     $1.70   $7.95     $8.00
One person should supervise all expenditure and                   70%    105      (750/105)   $7.15     $1.70   $8.85     $9.00
everyone who is spending money should be aware of                 60%    90       (750/90)    $8.33     $1.70   $10.03    $10.50
and responsible for budget limitations. Your budget is a          50%    75       (750/75)    $10.00    $1.70   $11.70    $12.00

working document – make sure to keep it up to date and            40%    60       (750/60)    $12.50    $1.70   $14.20    $15.00

you’ll	always	know	where	you	are	financially.	                    30%    45       (750/45)    $16.66    $1.90   $18.56    $19.00
                                                                  20%    30       (750/30)    $25.00    $2.30   $27.30    $28.00
Ticket sales and income projections                               10%    15       (750/15)    $50.00    $2.70   $52.70    $53.00

Figures show an average of 30% of show houses are sold           If you are planning more than one price category (e.g.
through FringeTIX. For some events that will be higher           Adult and Concession) you will need to take this into
and for others it will be lower. On top of this, previous        account when working out your prices. As a basic
Fringe artists report door sales of between 10% and 50%          rule, look at 2/3 of your tickets at full price and 1/3 at
of capacity across a season. That’s quite a difference,          concession.	Try	to	find	a	price	for	both	categories	that	still	
so using FringeTIX returns is a good place to start when         allows you to make your budget. So in this case you might
estimating	your	box	office	income.                               look	at	an	Adult	price	of	$21.00	and	a	Concession	price	of	
                                                                 $17.00	(including	booking	fees).
Setting Your Ticket Price
If you know how much money you need to make to break             Now you know how much money you need to make and
even, and you know how many tickets you have for sale            how many tickets you need to sell you can start to plan
in your venue, you can work out how much your tickets            a marketing campaign with a variety of promotional and
realistically need to be.                                        publicity strategies (see pages 45).

 In 2011, the average ticket price across all genres was around $21 for Adult tickets and $17 for Concession.

                                                           ARTIST HANDBOOK
                                                           Adelaide Fringe 2012

 EXPENDITURE                              Production                                        $
 Wages                                $      APRA Fees
    Administration                           Cleaning
    Marketing                                Catering
    Producer                                 Transport
    Director                                 Lighting
    Designer                                 Venue Hire
    Writer                                   Props
    Box	Office	/	Front	of	House              Signage
    Publicist                                Set
    Performers Fees                          Sound
    Production Staff                         Costumes
    Stage Manager                            Travel
    Workcover                                Accommodation
    Other                                    Other
 Wages TOTAL                      $       Production TOTAL                              $

 Marketing                            $   Administration                                    $
    Photos / Video                           Registration Fee
    Invitations                              Couriers
    Mailouts                                 Equipment Hire
    Graphic Design                           Fees and Licences
    Posters                                  Public Liability Insurance
    Flyers                                   Equipment Insurance
    Distribution                             Phone / Fax
    Print Advertising                        Photocopying
    Radio Advertising                        Postage
    Programs                                 Computer Expenses
    Fringe Guide Advertising                 Stationery	/	Office	Supplies
    Miscellaneous                            Vehicle Expenses (petrol etc)
 Marketing TOTAL                  $          Other
                                          Administration TOTAL                          $

    Box	Office	/	Sales	of	works           EXPENDITURE TOTAL                             $
    In Kind Support
                                          PROFIT / LOSS
    Cash Funding                                                          INCOME TOTAL $
    Miscellaneous                                        MINUS EXPENDITURE TOTAL -$
 INCOME TOTAL                     $                                       PROFIT / LOSS $                                                                       17
Adelaide Fringe 2012

                                                                                                       - 2011 FRINGE ARTIST
Brainstorm with your group about sourcing funds. You           Respond to Criteria
could:                                                         Make	sure	you	know	the	specific	criteria	and	objectives	of	
•	   Apply for grants from arts funding bodies or              the grant category to which you are applying. Remember
     philanthropic foundations                                 to be concise when you respond to them in your
                                                               application. Arts funding bodies generally want to fund the
•	   Approach businesses and organisations for in-kind or
                                                               development of art and artists. You should therefore be
     cash sponsorship
                                                               looking	to	frame	your	application	in	terms	of	how	it	benefits	
•	   Organise	fundraisers	-	a	BBQ,	raffle,	cake	stall,	wine	   your professional development as an artist. Philanthropic
     tasting, a quiz or movie night.                           foundations,	on	the	other	hand,	tend	to	have	social	justice	
                                                               objectives	(which	can	be	met	through	artistic	practice).	
You’ll probably need a range of fundraising activities to
raise enough income to make your event as great as you
want it to be – and not go into the red personally.

Most arts funding bodies place all grant information on
their websites and will also post you information and          NATIONAL FUNDING BODIES
application forms. Listed on this page are the main            AUSTRALIA COUNCIL             Department of Prime
Government Funding bodies, although there are many                                           Minister & Cabinet
non-government philanthropic agencies that also offer          T: + 61 2 9215 9000           T: +61 2 6274 1111
funding for the arts. Here are a couple of non-government      Toll free: 1800 226 912
resource websites to start you off:                  
                                                               STATE FUNDING BODIES                 Arts ACT                      Arts Tasmania
                                                               T: + 61 2 6207 2384           T: + 61 3 6233 7308
Where to Start                                                                     
Talk	to	staff/project	officers	about	your	application	and	
the correct category of their grants program to apply to.
                                                               Arts NSW                      Arts Victoria
Arrange	to	meet	with	them	to	discuss	your	project	once	
                                                               T: +61 2 9228 5533            T: +61 3 8683 3100
you’ve started your application, so if you have queries
                                                               Toll Free: 1800 358 594       Toll Free: 1800 358 594
you	can	complete	it	confidently.	Timing	is	important	–	you	
won’t be able to rely on the outcome of any grant that’s
announced after Fringe registrations close (12th October
2011) so investigate announcement dates and application        Arts NT                       Arts SA
deadlines early. Be sure you leave yourself enough time to     T: +61 8 8999 8981            T: +61 8 8463 5444
prepare each application - don’t let them pile up.     

                                                               Arts WA                       Arts Queensland
Each	organisation	has	its	own	objectives	in	relation	to	
                                                               T: +61 8 9224 7300            T: + 61 7 3224 4896
what	it	funds	and	why,	so	the	first	grant	application	you	
                                                                  Toll Free: 1800 175 532
write won’t necessarily apply for the next. You must pay
attention	to	these	objectives	and	think	about	how	the	
outcomes	of	your	project	can	meet	their	needs.

                                                                                      ARTIST HANDBOOK
                                                                                      Adelaide Fringe 2012

    Focus on their needs, not yours!
The sponsorship marketplace has never been more                    Research
competitive and it is a valued component of the business           Prepare a list of potential sponsors and consider their
sector’s marketing and communication budget. It has a              target	market	and	how	it	matches	your	own.	Make	the	fit	
cost – you have to show the potential partner the mutual           easier by creating a ‘story’ that is complementary to their
benefits	of	what	you	can	deliver.	Some	great	reference	            existing marketing program. Always contact the potential
material is available through the Arts Law Centre of               sponsor and identify the person, by correct name and title,
Australia and on their website.                                    who will assess the proposal. Ensure correct spelling of
                                                                   their name and set a follow up timetable to discuss the
Check out the Sponsorship Agreements Guide* at:
                                                                   opportunities you are offering.
agreement/sponsorship-agreement                                    The Proposal
* You will need to pay a fee to download the guide.
                                                                   You may not get the chance to present your case in
Where to start                                                     person – the proposal is critical.

Businesses receive many requests daily for sponsorship.            •	   Prepare and table proposals well in advance as most
To be successful you must present well-developed                        budgets are done ten months ahead of time.
proposals	that	clearly	identify	the	activity,	the	benefits,	and	
the value to the potential sponsors:                               •	   Don’t make shotgun approaches, cold mail proposals
                                                                        or believe the potential sponsor will be as passionate
•     What are you asking the sponsor to provide and
                                                                        about	your	project	as	you	are.
                                                                   Treat sponsorship as a partnership. The proposal should
Cash	sponsorships	are	always	more	difficult	to	secure	
                                                                   clearly outline what both parties are giving and receiving in
than in-kind sponsorships, which can involve a company
                                                                   return. Your proposal represents you in every way and so
contributing relevant product, services or resources (e.g.
                                                                   it must be correct with a high level of attention to detail.
equipment or printing etc) in exchange for appropriate
benefits.                                                          Your Responsibility

•     How will you deliver benefits to the sponsor?                Once a company has agreed to the proposed sponsorship,
                                                                   exchange a letter as a minimum, which clearly outlines
What will you give the sponsor in return for their support?        the	benefits	both	parties	have	agreed	to.	A	countersigned	
e.g. Special invitation to your opening night, inclusion of        agreement should be created to ensure both parties
their	logo	on	your	flyers,	reference	in	the	Fringe	Guide.	         understand the level of commitment required. This should
                                                                   be done for cash and in-kind sponsorships. Consider the
When	you	have	identified	the	elements,	prioritise	and	
                                                                   implications of GST and of any tax deductibility you can
cost the item. This will ensure you maintain equality and
consistency across the sponsor program.
                                                                   Delivery and Evaluation
•     Over what period of time?
                                                                   Set	a	“benefits	delivery”	timeline	and	cross	check	
                                                                   your documentation to ensure you have delivered all
                                                                   the	benefits	offered	and	agreed	to.	Keep	the	lines	of	
                                                                   communication open with sponsors and involve them as
                                                                   much as practical in the event. This is important for current
                                                                   and on-going relations. A post event analysis should be
                                                                   provided to the sponsors and is often a valuable source of
                                                                   feedback.                                                                                                         19
Adelaide Fringe 2012

 There is nothing worse than a ‘your word against mine’ argument. The only way to ensure that you are
 protected properly is to get everything in writing!

Being caught out by not getting it in writing is one of those     Some areas you should cover
traps that every Fringe artist seems to have fallen into a        •	   Financial obligations, e.g. any costs involved and
least once. If it hasn’t happened to you yet, rest assured             payments received
that it will... unless you get everything in writing!
                                                                  •	   How	financial	losses	will	be	dealt	with
There is such a thing as a ‘verbal agreement’ and these           •	   Amount of time each party will put in each week (or
can stand up in court. But it is amazing how quickly people            day during the Fringe)
forget or confuse the details of verbal agreements as soon
as something goes wrong.                                          •	   The responsibilities of each person

                                                                  •	   How	parties	not	“pulling	their	weight”	will	be	handled
Informal working relationships
Most people create informal working relationships based           •	   Who the spokesperson or publicity contact will be

on	trust,	history	or	friendship.	As	soon	as	financial	or	legal	   •	   The ownership of the work and how any copyright will
responsibilities get involved, this basis may not be as                be shared
reliable as hoped. Many a friendship has ended because
                                                                  •	   Plus any other areas that are particular to your event.
one party didn’t quite understand how much their share of
the	box	office	would	be	or	another	party	didn’t	contribute	       Venues
as much money up front as they said they would. It is             We strongly advise that you also obtain a written
much, much easier to avoid these arguments now by                 hire agreement from your venue. This is particularly
creating an agreement that each party signs to.                   important if you have made any special deals or are
                                                                  receiving any waiver of venue hire fees. A lot can happen
For	most	artists	a	simple	letter	of	agreement	will	suffice.	
                                                                  between your original booking and your opening night so
When drafting a letter of this nature though, make sure
                                                                  it’s well worth covering your bases now.
that it is signed, dated and if possible witnessed by a
third party that is unrelated or unaffected by the potential      Many venues will already have a standard contract for
outcome. It’s better to be safe than sorry.                       you to sign. If this isn’t the case you can choose to draft
                                                                  a simple letter of agreement yourself. However, if the
In lieu of a written agreement you should, at the very least,
                                                                  arrangements are more complex, it maybe worth getting
ensure you have an email trail of correspondence to refer
                                                                  some legal advice before you sign anything.
back to.
                                                                  More detailed information on Venue Hire can be found on
                                                                  page 25 of this handbook.

                                                                                         ARTIST HANDBOOK
                                                                                         Adelaide Fringe 2012

 There’s a lot of ‘housekeeping’ to be done to make sure your event stays on the straight and narrow.

Registering a Business Name                                           It is worth checking whether a particular work is covered
You may need to register your presenter or production                 under copyright; e.g. Shakespeare’s plays are in the
company name. Artists operating under their birth name                Public Domain (that is, free from copyright), but a
are able to trade using that name, but if you add the                 published interpretation or adaptation of Shakespeare will
word	“Productions”	or	something	similar,	you	will	need	to	            most likely be protected.
register that as a business name.
                                                                      Be aware that rights holders are on the lookout for any
Why? Because someone else may already own that as                     event that may not have obtained appropriate performance
their trading name and trading under a name registered to             rights. Here’s an example: In 2011, one company had to
someone else is breaking the law!                                     withdraw a play that it did not have the rights to, after the
                                                                      rights holder saw the event in the Fringe Guide. Luckily
We suggest you search the national Names Index, which is              this company had another play up its sleeve and were
on-line at, to check that          able to proceed with their season.
the company name you want to use is available. If it is you’ll
be	able	to	register	it	at	your	state	Office	of	Consumer	and	          To avoid the potential headaches that such a situation
Business Affairs. You will also need to check that the name           brings, not to mention potential loss of income, it’s always
is available for use in South Australia. If it isn’t you’ll have to   best to get appropriate permission.
choose something else. Visit, and search
                                                                      If you have any questions about performance rights, get in
for Business Names.
                                                                      touch with Artist Services, or visit The Australian Copyright
APRA|AMCOS                                                            Council’s website -

APRA (Australasian Performing Right Association) and                  Liquor Licensing
AMCOS (Australasian Mechanical Copyright Owners’                      Artists who are planning on selling or supplying alcohol
Society) administer the rights of the world’s composers,              may be required to obtain a liquor licence under the Liquor
songwriters and publishers in Australia and New Zealand.              Licensing Act 1997. If you are intending on holding your
                                                                      opening night in an area that is normally considered a dry
If you intend to use copyrighted music (either live or pre-
                                                                      zone (that is, where no alcohol consumption is allowed),
recorded) at your Fringe event you’ll need to obtain the
                                                                      then you will need to obtain approval for a limited licence.
appropriate license. You can indicate this in FERS and
                                                                      Consent from the local council will also be required in
APRA will contact you.
                                                                      these circumstances, and the Police may also need to be
Go to for more information.                           informed.

APRA will also be able to assist you if you are using music           Events running for more than three days will need to apply
in a theatre performance.                                             at least 60 days in advance. Applications for events of less
                                                                      than three days duration (e.g. Opening Night events) must
                                                                      be lodged at least 14 days prior to the function being held.
Adelaide Fringe Inc. fully subscribes to the principles of            With the large number of celebrations taking place around
copyright and intellectual property as they apply under               Fringe time, we recommend that you allow more time than
Australian law.                                                       this to avoid any disappointment.

Fringe artists are obliged to obtain written permission               For more information on limited liquor licences and to
from the owners, copyright holders or originator(s) of any            download	application	forms	visit	the	Office	of	the	Liquor	&	
material that they use and pay any relevant fees.                     Gambling Commissioner website at
Adelaide Fringe 2012

     IMPORTANT: The Adelaide Fringe is not a licensed financial advisor and therefore cannot give advice on any
     specific insurance product or matter. The following information is to be used as a guide only. All artists need
     to seek advice from a registered insurance broker before taking out any insurance policy. The Adelaide Fringe
     will not be held liable for any artist insurance issue either directly or vicariously.

The area of insurance needs to be addressed early             Public Liability Insurance
and	dealt	with	carefully.	Try	to	find	a	broker	who	can	       All artists should seriously consider taking out Public
develop a comprehensive package that avoids costly            Liability insurance, to cover against the risk of a member
‘over insurance’. You should consider insuring against the    of	the	public	being	injured	by	any	act	that	is	deemed	to	be	
following:                                                    negligent on behalf of the policy holder.
•	     Public Liability
                                                              This means that if an action by an artist or an item of
•	     WorkCover                                              set, exhibition, lighting rig or any other element of a
•	     Instrument Insurance                                   performance	causes	injury	to	an	audience	member	(or	any	
                                                              other member of the public) and it is found that the artist
•	     Personal	Accident	&	Injury
                                                              is	at	fault	for	causing	the	injury,	the	policy	holder	will	be	
•	     Travel & Health                                        covered for any costs or liability incurred.

•	     Volunteers Insurance                                   The venue that you perform/exhibit in should also have
•	     Cancellation & Abandonment                             their own public liability insurance, to cover the public in
                                                              the event of a claim that is attributed their negligence.
•	     Money in Transit
                                                              Example: You hire a venue with seating provided by the
•	     Vehicles
                                                              venue. In the middle of one of your performances or
•	     Non-appearance                                         during your exhibition, a seat collapses and an audience
•	     Studio & Contents                                      member	is	injured.

•	     Transit & Freight                                      The seat collapsing is not necessarily your fault as it
                                                              was part of the venue. In this case it may be found that
Please be aware that Adelaide Fringe Inc does not
                                                              the venue is negligent for not providing safe seating and
provide blanket insurance coverage for any event in
                                                              therefore	they	are	responsible	for	the	injury.	If	the	venue	
the Fringe program.
                                                              isn’t	covered	for	public	liability,	you	may	find	yourself	being	
Insurance Brokers                                             chased for vicarious liability since it was you who invited
City Rural Insurance Brokers are very familiar with the       the	audience	into	the	venue	in	the	first	place.
insurance requirements of Adelaide Fringe artists. You
                                                              Essentially you don’t want to be caught out and blamed
may request an obligation free quote from their website
                                                              for something that isn’t your fault, so it is best to protect
                                                              yourself from such a situation by ensuring that your venue
Also check out:                                               is also covered.

•, another artist-friendly
       insurance provider

•	     MCA Insurance Brokers - 1300 62 55 65. Special
       deals may be available to Fringe artists.

                                                                                    ARTIST HANDBOOK
                                                                                    Adelaide Fringe 2012

Volunteer Insurance                                            WorkCover
If you organise volunteers in your event, be aware that        Be aware that Public Liability does not cover yourself or
they are not covered under workers’ compensation. They         any	member	of	your	group	for	injury	whilst	performing.	
are not usually regarded as members of the general             To cover yourself and you group you may need to look at
public, so public liability insurance may not cover them       Personal	Accident	and	Injury	insurance	or	in	some	cases	
either. It is therefore worth acquiring volunteer insurance    Work Cover.
cover, or adding an endorsement to your public liability
                                                               For more information on Work Cover, visit their website at
insurance package. At the very least, have your volunteers
sign a release form indicating that they are responsible for
their	own	insurance	in	the	event	of	an	injury.	

Under Australian taxation law, artists registering for         Conversely, registering for GST also means that you have
Adelaide Fringe 2012 and earning income from their             to pay back any money you receive from charging GST for
event(s) are required to obtain an Australian Business         your goods or services. So before registering it is worth
Number (ABN). There are exceptions to this in very             doing the sums. How much GST will you receive back
specific	circumstances,	and	it	is	worth	doing	a	bit	of	        each quarter (3 months) compared to the amount of GST
research to work out what your obligations are.                you collect? If it is only a small amount, and you are not
                                                               actually required to register for GST, it may be better to
You’ll need an ABN if you are regularly earning an income
                                                               just	cut	your	losses	and	avoid	getting	bogged	down	in	the	
on an ongoing basis from your art, performance fees or
                                                               extra paperwork.
ticket sales, and that income makes up a large proportion
of your total income. You will need to quote your ABN to       There are some circumstances where it is compulsory
the Fringe as part of your registration.                       that you register for GST. Any registered Fringe artist
                                                               who	earns	$75,000	or	more	(or	$150,000	for	non-profit	
You may not need an ABN if you are employed full time
                                                               organisations) from their business must register.
elsewhere and your income from ticket sales, performance
fees or your art is small in proportion, or you don’t          GST and Grants
reasonably	expect	to	make	any	profit.	If	this	is	the	case	     There are a number of artists who receive funding or grant
you will need to supply the Fringe with a Statement by         money to participate in the Adelaide Fringe. If you or your
Supplier - for more info see                                   company is lucky enough to receive a grant it is worth                              doing your sums again to see if this will tip you over the
                                                               relevant compulsory registration mark (once you include
Goods and Services Tax (GST)
                                                               all other income).
Most Fringe artists won’t need to worry about registering
for GST, but it is worth knowing some background info          If you have any questions regarding ABNs or GST, please
before you make a decision to register.                        contact our Finance Manager, Mirella Innocente, on +61
                                                               8 8100 2014 or email, or
Basically, every time you buy something or pay for             visit	the	Tax	Office	website:
someone’s services you pay 10% on top of what it cost
in GST. Registering for GST allows you to claim back any       * Due to a special ruling, our registration fees and inside
taxes that you have paid on items or services pertaining to    charge ticket fees are GST free.
your business. If you are not registered for GST you won’t
be able to claim any of these taxes back.                                                                                                    23
Adelaide Fringe 2012

Occupational Health, Safety & Welfare                          Venues and Public Safety Guidelines
“I	don’t	need	to	worry	about	that,	right?”	WRONG!	Artists	     When using a building for public entertainment in the City
and Venue Managers have a responsibility to meet               of Adelaide area, you are required to adhere to Adelaide
OHS&W guidelines and Building Safety Standards,                City Council and Building Code guidelines.
particularly because this concerns your safety while
                                                               The	Fringe	has	been	notified	that	Adelaide	City	Council	
performing or exhibiting in the venue, and the safety of the
                                                               will actively investigate the use of all venues used by
public who come to see your work. Some standards vary
                                                               Adelaide Fringe 2012 artists to ensure that public safety
from state to state, and others are national standards that
                                                               guidelines are in place, before and during the dates of the
apply Australia-wide.
Because different authorities are responsible for the
                                                               Please be aware that Adelaide City Council
various	standards	that	apply,	in	the	first	instance,	you	
                                                               representatives may arrive at your venue unannounced
should contact the local council where your venue is
                                                               and	can	proceed	to	shut	the	venue	if	they	are	not	satisfied	
                                                               that guidelines have been met.
Please be aware that venues and shows that don’t meet
                                                               To clarify venue safety guidelines please contact the
current safety regulations and standards can be closed
                                                               Adelaide City Council Customer Care Centre who will put
by Council or SafeWorkSA. You can visit their website at
                                                               you in contact with the relevant department.

Artists and Venue Managers will need to ensure that a               Adelaide City Council Customer Centre
range of conditions are met, including:                             25 Pirie Street Adelaide SA 5000
                                                                    Ph: +61 8 8203 7203
•	   Exit	and	entrance	specifications                               Hours: 8:30am - 5:30pm Mon - Fri

•	   Fire extinguishers located on site                   

•	   Electrical safety standards

•	   Adequate	number	of	toilets	and	fire	exits

•	   Development applications for non-traditional venue

Smoking Regulations
Effective from 1 November 2007, all enclosed areas in
liquor licensed premises and public places must be 100%
non-smoking. Public areas incorporate cafes, restaurants
and non-licensed venues, such as community halls: all
these areas are now smoke free. This applies to Fringe
events - no smoking is permitted in enclosed areas,
including performance stages.

We advise you to check with the venue for information
regarding your event, as business operators in violation of
the	new	smoking	law	can	be	up	for	a	rather	large	fine!	

For further information visit

                                                                                    ARTIST HANDBOOK
                                                                                    Adelaide Fringe 2012

 For specific advice on finding a venue or any other venue related matter, contact our Venues Co-ordinator on
 +61 8 8100 2046 or email

Already have a venue lined up?                                   Researching your venue

You may already have a venue in mind, or your event may          When you have come up with a list of potential venues,
be	venue	specific.	Therefore,	you	are	already	well	on	your	      visit each one or get as much information about them as
way	to	finalising	your	registration	details.		Once	you	have	     you can. Weigh up each one against all the things that you
entered your venue details at Step 4 of FERS, the venue          need to consider, such as:
will	be	verified	by	the	Adelaide	Fringe,	and	added	to	the	       •	   Seating	capacity
Venue Index of the Fringe Guide.                                 •	   Location

If you don’t yet have a venue, there are a few ways the          •	   Cost
Fringe can help (Remember: we can give you advice,               •	   Whether	the	venue	is	licensed
but it is still your responsibility to arrange the hire of the   •	   How	much	you	can	model	the	venue	to	suit	your	
venue):                                                               needs

Venues List                                                      •	   What	the	venue	provides	(marketing	support,	FOH/

A venues list will be available to download from Venues               Box	Office	staff,	equipment)

Information in the Artist Resources section of FERS.             •	   Programming	theme
Although it isn’t an exhaustive list of potential venues         •	   Venue reputation
in Adelaide, it is a list of enthusiastic venues that have
expressed an interest in hosting Fringe events. In the           In addition, Visual Artists might like to consider the
venues	list	you	will	find	the	venue’s	contact	details	plus	      following:
venue information (location, capacity, production and
technical details) and a description of the venue and            •	   Is the venue’s normal trade most important to you?
the type of programming they are interested in. The              •	   Or	is	it	the	location?	
venues list will be updated frequently, with new updates         •	   Do	their	operating	hours	suit	your	needs?
announced in the regular Artists Bulletins.

You can also check previous Fringe Guides, to see what           Undertaking this process carefully and early on (while
venues have hosted Fringe events in the past.                    there is more than one venue left to look at!) will put you in
                                                                 the best position to make the most informed decision that
Event List for Venues                                            you can about your Fringe venue.
Artists who have not secured a venue for their event will
have the option of being included on an Event List for
Venues. Details will include a short bio of your event,
desired venue type and size, and contact information.
Registered venues will regularly receive a summary of
these events and will contact you if your event fits their
programming needs.

Venue Assistance
You can request venue assistance through FERS.
The Venues Co-ordinator will then contact you with
suggestions of suitable venues from the venues database,
based on your requirements.                                                                                                   25
Adelaide Fringe 2012

Communication                                                     Discuss what costs are associated with the use of the
In order to cover all your bases, it is recommended that          venue’s equipment (for instance, there is usually a small
you notate all discussions with your venue. Keep your             hire fee or a breakage charge associated with using a
venue hire agreement and other relevant information               venue’s lighting equipment). Some venues may charge
along with this correspondence in one place. It is very           you for use of their power, so make sure you negotiate an
important to keep in regular communication with the venue         acceptable rate before plugging in and regretting it later!
owner or manager.
                                                                  Sales (Merchandise, Products, Bar Sales, etc)
When in discussion regarding the use of the venue, try            If the venue has no bar ask if it is possible to run a bar
to see things from their point of view. They will have very       and, if so, who should obtain the liquor licence (see page
different concerns regarding your event but at the end of         21).	You	should	also	find	out	about	other	types	of	sales.	
the day you both want the same thing — a stress-free and          Are you entitled to income from program and merchandise
successful Fringe.                                                sales for shows and exhibitions? Or does the venue
                                                                  charge a commission on sold work? How much is it and
Remember, you have the added responsibility of acting
                                                                  how does the process work?
as an ambassador for Fringe artists of the future. If you
do the right thing this time, then the venue will be there for    Staffing
future Fringe artists.
                                                                  There are various types of staff that you will need to
Venue Access                                                      consider to ensure that your event runs smoothly. Some
                                                                  examples are:
You	will	need	to	confirm	with	the	venue	the	times	which	
you can use to set up your event or exhibition, conduct           •	   Technical staff - lighting and sound
rehearsals, and also have access prior to and after each
performance. Make sure you have a look at the venue’s             •	   Front of House
licensed hours as these may alter your access times.
                                                                  •	   Door Staff
Also,	make	sure	you	understand	the	ramifications	of	
cancelling your event (e.g. cost, changes to printed media,       •	   Gallery attendants
etc) and make sure this is noted within your contract.
                                                                  If you are employing your own staff, you will need
Venue Conditions                                                  to adhere to all the rules and regulations regarding
Measurements of access doorways, overhead height of               employment. You will also need to consider the costs
the stage, rigging points for gallery exhibitions, loading        associated	with	skilled	staffing,	and	enter	it	into	your	
zones,	fire	exits,	first	aid	kits,	disability	access,	customer	   budget. Make sure you discuss with your venue the need
parking, smoking or non-smoking — these are all issues            for and the cost of security personnel.
which may become a problem for you and your potential
audience if you have not pre-empted them.

In-House Equipment
When you visit prospective venues, you will need to clarify
what infrastructure within the venue is available for your
                                                                  “RESEARCH THE VENUE, AND DO NOT SIGN ANYTHING
usage, and what you may need to supply yourself (for
                                                                  UNTIL EVERY PART OF THE FEE AND WHAT IS BEING
instance, if the venue has 50 seats, and you would like to
have 60 people at your show, you will need to arrange the         PROMISED HAS BEEN MADE COMPLETELY CLEAR IN

additional ten seats).                                            WRITING.”
                                                                                                         - 2011 FRINGE ARTIST

                                                                                ARTIST HANDBOOK
                                                                                Adelaide Fringe 2012

Get it in writing!                                           BRIEF DESCRIPTION OF EVENT:
When you book your venue we strongly advise you to           If you previously prepared an event proposal, to secure
draw up a letter of agreement or a contract. Doing this at   your venue or funding etc., you can pilfer from that. Just
the start of your relationship with your venue could save    make sure it resembles what you discussed and agreed
you a lot of problems if a dispute arises later on. Make     upon with the other party – while a shared appreciation for
sure that all aspects of the agreement you negotiate with    creative	flexibility	is	ideal,	contractual	agreements	tend	to	
the	venue	management	are	reflected	in	this	document	and	     be best surprise free!
include a mediation clause. If you are unsure about the
                                                             GOODS AND SERVICES TAX (GST):
letter of agreement seek professional legal advice. The
Arts Law Centre ( has sample contracts        State each party’s ABN details and GST status (whether
available. We have provided a sample template on page        you are registered or exempt from registering).
78 which you can use as a guide.
If you wish to draw up your own agreement, here are          Clearly outline any fees that are due to either party, with
some suggested headings:                                     descriptions of what each fee is for, when it’s due to be
                                                             paid, and if it is GST inclusive. Generally speaking, if you’re
                                                             going to receive any money from your work, make sure
Include your full contact details:                           you have an ABN, else the paying party may need to retain
•	   mobile number                                           around 50%! See page 22 for more details.

•	   landline number                                         SPECIAL CONDITIONS:
•	   email                                                   Here’s where you mention things like any mutual
                                                             agreements you’ve made with the venue about any other
•	   postal
                                                             requirement and/or cost associated with your event,
Highlight the communication method that is the easiest       that	will	impact	upon	both	parties,	such	as	financing	or	
and most effective in reaching you. For visual art           coordination of an opening event, producing an invitation,
exhibitions with multiple artists, highlight the primary     venue inclusions or exclusions (such as equipment hire,
contact person (this may be the curator, coordinator,        cleaning, marketing materials).
or representative of a collaborative etc.), and stipulate
                                                             SIGNATURES & DATES:
the share of onus between all contractual (participating)
                                                             for you and the other party, and print respective names
                                                             and titles/positions.
Same as for Artist details. Ideally the person you have
made the negotiations with is also the person who has the
authority to sign such an agreement, and who will be able
to adequately address any issues that might arise during
or pertaining to your event.

Event title; venue name; opening event date and times;
event dates; event coordinator and production company /
exhibiting artists.                                                                                                  27
Adelaide Fringe 2012

When you arrive at your venue
                                                                 YOU’RE ABOUT TO SIGN ON THE DOTTED LINE.
When you gain access to the venue make a record of its           HAVE YOU CONFIRMED...?
condition and an inventory of its contents immediately.
Before you bump in your show or set up your exhibition           ‰   Performance / Exhibition times

arrange for venue management to run through this list with       ‰   Access times
you. Meet with them again afterwards to ensure you agree
                                                                 ‰   Licensed times
the venue has been left in its original condition. See the
                                                                 ‰   Cancellation conditions and costs
Safety Checklist in the Appendix.
                                                                 ‰   Venue infrastructure
Events in Exhibition and Gallery Spaces                              (seating, staging, rigging points, etc)
If you are looking at using an exhibition or gallery space,      ‰   Merchandise sales
or even a completely empty space, you will need to                   (who	can	sell,	and	who	takes	what	profit)
consider a number of additional things. You will need            ‰   Cash Float (for door and merchandise sales)
to look at lighting, both presentation lighting and safety
                                                                 ‰   Commission costs and conditions
lighting, so that your audience will be able to see your             (does the venue take a commission and under
work and also see where they are going! Temporary                    what circumstance)
lighting can be expensive, so make sure you note all
                                                                 ‰   In house equipment, costs and conditions of use
existing	lighting	and	find	out	if	you	are	entitled	to	utilise	
                                                                 ‰   Power usage and charges
it as part of your venue hire. Take note of the condition
and type of the walls. Will you need to mount works from         ‰   Staffing	
these walls, or will you create a temporary façade from              (technical, front of house, gallery attendants)

which to hang your works? Make sure to ask the venue             ‰   Staffing	costs
management	whether	you	can	put	additional	fixtures	into	
                                                                 ‰   Security Personnel
the	walls,	and	what	methods	and	types	of	fixtures	are	
                                                                 ‰   Overall venue security
                                                                 ‰   Liquor Licence conditions

                                                                 ‰   Venue sharing details (other artists, other events,
                                                                     regular venue activities)

                                                                 ‰   Will	your	show	fit	into	the	venue	
                                                                     (set or exhibition pieces)

                                                                 ‰   Disability Access

                                                                 ‰   Loading zones

                                                                 ‰   Customer car parking

                                                                 ‰   Waste disposal

                                                                 ‰   Venue cleaning

                                                                 ‰   Smoking regulations

                                                                 ‰   Fire exits and extinguishers

                                                                 ‰   Emergency and evacuation procedures

                                                                 ‰   First Aid Kits and First Aid Accredited Staff

                                                                                   ARTIST HANDBOOK
                                                                                   Adelaide Fringe 2012

 When you are sourcing technical equipment, be aware that some equipment can be costly to hire and may
 exceed your budget. It’s advisable to get detailed quotes for the length of the hire period, and to find out if
 there are additional charges for late returns and if you are required to pay deposits.

If you need to use specialist technical equipment, give         Operation of Technical Equipment
yourself plenty of time to source it. Some venues will have     Once you’ve organised your technical equipment, don’t
a basic stock of technical equipment (e.g. lights, sound,       forget to work out how it will be operated and by whom. If
staging) but you will need to check their inventory and         performers or company technicians will be operating the
confirm	that	you	can	access	it	as	part	of	your	venue	deal.		    gear, make sure they are familiar with the equipment and
Other venues won’t have any technical equipment so you          know how to use it. It takes time to learn new equipment
will need to source your own.                                   (e.g. lighting boards and PA systems) so you’ll need to
                                                                allow ‘play’ time for technicians using unfamiliar gear.
Technical Suppliers
You	will	find	a	list	of	‘preferred	suppliers’	for	hiring	of	    Check the insurance clauses on hired technical equipment
technical equipment on page 81 of this handbook. These          – usually the condition of hire is ‘if you break it, you pay
suppliers are all local businesses that happily support         for it’. It’s worth considering taking out an insurance policy
Fringe artists, and discounts may apply in some situations.     that covers theft/loss/damage on hired and borrowed
This list can point you in the direction for lighting, sound,   equipment since replacement costs can easily run into
staging, drapes, seating, AV and almost anything else you       thousands of dollars.
might need!

(Please remember, the Adelaide Fringe provides that list in
good faith, and is not responsible for any information or
service supplied by a third party.)

Keep in mind that February and March 2012 will be a busy
time in Adelaide, so book gear early to avoid missing out.

When you’re talking to potential suppliers, you will need to
provide	very	specific	information	about	what	you	want	and/
or what you want to achieve. It’s often helpful to prepare a
detailed list before you call them, and be ready to answer
a lot of questions!

There are safety regulations that apply to the use of
powered equipment (e.g. equipment must be tagged and
tested at regular intervals). All reputable hire companies
will meet necessary safety standards but if you are
borrowing your equipment from other sources, it’s
advisable to check that the equipment has been tagged,
tested and is safe for use.
                                                                Desert Fringe in Port Augusta. Photo: Giovanni Lorusso.                                                                                                      29
Adelaide Fringe 2012

As the producing artist or company, you will need to
ensure that appropriate signage is provided for the general   SOME SIGNS YOU MAY NEED:
                                                              This performance contains Offensive Language
public and audience members visiting your event. Make
sure your signage is clear, legible and well lit at night.         •	     Particularly important if children are permitted at
                                                                          your event
Signs are easier to read if they are black or a dark colour
on a background of 70% contrast. All people who interact
with the general public attending your event must be          This performance/exhibition contains nudity
aware of these signs and warnings. Broadly, there are
three types of signage to consider:                           This performance/exhibition uses strobe lighting
                                                                   •	     As this can cause seizures in some people
Safety & Warning Signage
You will need to ensure appropriate safety and warning
                                                              This performance/exhibition uses pyrotechnics
signage is in place at your event. Members of the general
                                                                   •	     These can affect people with heart conditions
public should also be warned if your event contains
offensive language or nudity. Other signs could warn
against extreme special effects, strobe lighting, smoking     This performance/exhibition uses a smoke machine
during performance and the use of pyrotechnics.                    •	     This can cause allergic or asthmatic reactions

Directional & Informational Signage
These provide important information for the general public    This performance involves smoking on stage
and can also be used to indicate a path through the
venue.	Other	signs	could	include	“No	Smoking”,	“Please	       This performance involves Replica Firearms
Turn	off	Your	Mobile	Phones”,	“Toilets”	and	various	arrows	        •	     Firearms can cause emotional distress
to show entrances and exits.
                                                              Please Switch Off Your Mobile Phone
                                                                   •	     One WILL ring at the quietest moment of your
If your sponsorships clash with those of the venue,
there may be restrictions in place regarding your event’s
sponsorship logo display and signage. Make sure you           Exit This Way
investigate this with your venue as early as possible.        Entrance This Way
                                                              Toilets This Way
                                                              No Access
                                                              Lifts This Way
                                                              Parking This Way
                                                              No Parking
                                                              No Food or Drink in the Venue

                                                              •	        Signs may contain combinations of the above.

                                                              •	        Consider all other possibilities for signage you may

                                                                                  ARTIST HANDBOOK
                                                                                  Adelaide Fringe 2012

First Stop - Contact Your Local Council                       •	   Public Liability
If you are planning on setting up a temporary / pop up        •	   Access to First Aid and Emergency Service Vehicles
venue indoors or outdoors talk to the local council in that        onto the site
area now! They can advise what is required from you and
                                                              •	   Safety Risk Assessment carried out
the processes you will need to follow and other authorities
you will need to liaise with.                                 •	   Noise impact statement if a licensed premise is
In the CBD, contact the Adelaide City Council
                                                              •	   Security requirements staging and equipment
Development Team:
Customer Service Centre, 25 Pirie Street Adelaide             •	   Details of storage and collection of refuse
+ 61 8 8203 7185 |
                                                              Considerations for outdoor events
For other Council visit the Local Government Website                                            •	   Permission to use local spaces and parks*

Second Stop - Contact Adelaide Fringe                         •	   Fencing off the perimeter, backstage areas and /
Contact the Venue Services Coordinator (see contact                or licensed area as determined by Liquor License
details on page 4). Building a venue from the ground up is         conditions
a huge undertaking but is equally rewarding. We are here
                                                              •	   Shelter and sun protection for day events, including
to assist, support and advise you and sometimes simply
                                                                   access to water for audiences, staff and artists
listen to your ideas. So talk to us now!
                                                              •	   Emergency Services vehicle access onto the site
Site and Venue Management Considerations
When looking at potential sites many things will need         •	   The provision of front-of-stage crowd control/
to be considered and addressed in order for you to get             clearance as appropriate
permission from the council and other authorities to
                                                              •	   General lighting for night time events
operate as a venue:

•	   Capacity requirements of performance/exhibition          •	   Weather conditions planned for and monitored

•	   Legal number of toilets required                         This last point is important particularly if it results in the
                                                              cancellation/postponement of your event. How will you
•	   Access provisions into the building/event site and
     facilities                                               notify staff, artists and audiences (not to mention the
                                                              Fringe itself)?
•	   Legal number and type of exits that are required
                                                              Weather also has an impact on technical equipment
•	   Access to power and power distribution points
                                                              so provision needs to be made for covering electrical
•	   Heritage listing (approval for altering the use of a     equipment and connections in the case of heavy rain, and
     heritage listed building will take up to 8 weeks)
                                                              all temporary structures (e.g. stages, marquees etc) need
•	   Backstage facilities for artists and staff               to cope with possible high wind scenarios.

•	   Fire	Safety	Provisions	(fire	extinguishers,	exit	        Safety Guidelines and Standards
     signage, aisle width, etc.)
                                                              There are strict guidelines and legislated safety standards
•	   Parking and pedestrian access                            for the erection of ‘temporary’ facilities and structures
•	   Site plan/venue plan                                     relating to outdoor events and failure to meet these may
                                                              result in the event being shut down.
•	   Emergency Procedure Protocols in place

•	   OHS&W Policy                                                                                                      31
Adelaide Fringe 2012

 Safe working procedures are about identifying and minimising risk in the workplace.

Artists, groups and companies are required by law to take      Identifying and Minimising Risks in a Venue
responsibility for the safety of their employees, volunteers   As mentioned in earlier, when comparing venues, you
and members of the general public who come to their            should look at them from a safety perspective as well as
event.                                                         an	artistic	perspective,	before	deciding	to	confirm	your	
                                                               hire. See the Safety Checklist that follows for a basic list
Above and beyond Occupational Health and Safety, you
                                                               of possible risks in a venue (this list is by no means all
will also need to consider Public Liability Insurance and
                                                               exhaustive, and you should consider brainstorming in
other legal responsibilities to the public, your venue and
                                                               order to identify all possible risks).
your employees, which is detailed on pages 22 of this
handbook.                                                      ‰    Check all entrances, exits, steps, stairs and walkways
                                                                    are well lit, accessible and clear of trip hazards.
Health and safety legislation applies in all states and
                                                               ‰    Ensure all potential hazards in the venue (i.e. glass
territories of Australia to all workplace practices and all         walls and doors) are clearly marked and well lit.
productions, events and venues must comply with the
                                                               ‰    Check that all cables are taped down or covered with
relevant legislation. Any person found working outside              carpet then secured with tape.
these	requirements	may	be	subject	to	fines	and/or	             ‰    Check all lighting is correctly secured and clear of
prosecution. In addition to health and safety legislation,          flammable	material.
there is other legislation that will impact on safety in       ‰    Seating checked for safety and security (and built
the workplace, i.e. the Disability Discrimination Act               according to Australian Standards).
(1992). See the Disability Access section on page 34 for
                                                               ‰    Safety induction undertaken with workers and artists.
information, resources and contacts.
                                                               Risk Assessment & Planning
Where to start
                                                               Planning for risk will help you know what to do if
Ensuring the health and safety of persons at work is a         something happens and how to take the safest path. Risk
shared responsibility between the Presenting or Producing      assessment means identifying potential hazards in relation
Artist or Company, the Venue and their contractor’s            to the working environment of your event and evaluating
workers. Good management and risk assessment and               their likelihood and outcomes. You then work towards
planning will reduce incidents in the workplace.               eliminating and/or reducing the risks associated with the
                                                               hazards. When identifying risks, make sure to consider all
If you are unsure what certain legislation requirements are
                                                               areas of your performance and venue. Consider activities
regarding safety and hazards, or whether you are meeting
                                                               planned to occur on stage, backstage, front and back of
them it’s a good idea to check. Local councils can provide
                                                               house, auditorium, workshops, dressing rooms, and any
information on this, as well as:
                                                               other areas involved.
Workplace Services
                                                               You should note all possible risks, no matter how unlikely
                                                               they seem. It is in your favour to have thought of every
Telephone +61 8 8303 0400 or 1300 365 255
                                                               possibility, because in the case that it does occur, you will
Work Cover (South Australia)                                   have already thought of how to deal with it.                                           Once you have completed a risk assessment, you must
Telephone: 13 18 55                                            make people aware that these risks do exist, and how
                                                               you plan to respond if a risk turns into an emergency.
                                                               Undertake a safety induction for all your contractors and
                                                               workers	(and	artists	and	volunteers),	include	briefings	on	
                                                               emergency procedures, general health and safety and
                                                               disability access etc.
                                                                                    ARTIST HANDBOOK
                                                                                    Adelaide Fringe 2012

 When you invite an audience into a venue, you are taking responsibility for their safety while in that venue.
 When utilising an existing venue, you should request a recent copy of the Venue’s Emergency Response Plan
 and Evacuation Procedures, including any maps of the venue that indicate fire exits or safety equipment (e.g.
 fire extinguishers, alarms, smoke detectors etc). This will give you an idea of how the venue responds in an
 emergency, allowing you to identify how you can respond.
 It is important for you to know exactly what you need to do in an emergency and whose responsibility it is to
 implement an emergency response if the need arises. The last thing a potentially panicked audience needs is
 equally panicked people telling them to do different things at the same time!

If you are not altering the venue in any way, you may be          Once you have created an Emergency Response plan,
able to utilise the venue’s existing plans. However, if you       ensure that all people associated with your event plus
are adding structures or changing the way the audience            your venue’s management are aware what your response
flows	through	the	venue,	it	will	alter	the	way	you	can	           will be. If your venue has an existing plan that you are
respond to an emergency. If you are utilising a bare              required to follow, make sure that each member of your
space or changing the way in which a space is used (for           group knows what this plan is and what they are expected
instance, turning a shopfront into a gallery space) you will      to do.
need to write your own plans.
                                                                  Further information on risk management can be obtained
You will need to ensure there is clear emergency access           from the Australian Entertainment Industry Association
including entrance doors and aisles. Ensure all exit              (AEIA) go to
lights are clearly visible and accessible to a person             document/00000027-source.pdf to access the Safety
using a wheelchair or with limited sight. Arrange incident        Guidelines for the Entertainment Industry publication.
and	hazard	report	forms	and	an	injury	register	for	
documentation.	Check	that	fire	extinguishers	are	full	and		       If you have any doubts about whether you have covered
correctly placed. Relevant emergency services should be           all your bases in terms of legislation and guidelines, we
notified	about	special	effects	such	as	pyrotechnics,	fire	or	     suggest that you check with the local council. For a full list
smoke in your event.                                              of local governments in South Australia go to:

Risk Control Plan - Risk Register
A risk register summarizes the hazards and list the control measures to minimise and manage the hazards. There are
various risk register templates available and you will need to work out which one best suits your needs. A Google search
will turn up plenty of other examples.

Example of risk placed in the risk register:

 Risk             Due to          Consequences          Risk Controls        LCR*    Identified Strategies         Action Plan
 Description                                                                                                       #
 Injury to        Slips, trips,   Patron injury,        Ensure all hazards   C1L     Building codes and            001
 patrons          falls           insurance claims,     have signage,                OHS&W implemented in
                                  bad publicity         are ropes off and            venue set up
                                                        monitored                                                                                                     33
Adelaide Fringe 2012

 The Fringe is for everyone. If your venue or space is accessible for people with
 disabilities your event can be accessible too.

The	Australian	Bureau	of	Statistics	in	2003	identified	20%	    Seating for people who have a mobility disability
of the Australian population as having a disability, at that   Accessing mobility impaired seating should involve limited
time equalling about 200 thousand Adelaideians. That’s         steps for the patron with easy access and a clear sight line
a lot of people who might miss your event because your         to the performance/focus area. Ensure adequate space
venue isn’t accessible! How to make your venue safe may        is allowed between aisles for a wheelchair to manoeuvre
not be obvious to you so here are some tips to get you         comfortably.
                                                               Place wheelchair-seating spaces (1% of total number of
Where to start - Identify any possible hazards                 seats	is	a	good	guideline)	at	the	first	or	last	seat	of	your	
Your venue                                                     seating rows. If there is break in the middle of the aisle
Doors need to be wide enough to cater for people with          you can also place the spaces there.
a wheelchair (width of 1100mm or larger) and the point
                                                               Remove existing seats to make room for wheelchair
of ticket sales or reception area/service counters should
                                                               seating spaces if possible, otherwise ensure there is
be at a height that can be accessed by a person using a
                                                               room for a person to transfer from a wheelchair to a seat,
wheelchair (no higher than 1000mm). Ensure people are
                                                               and there is space to safely store a wheelchair when
warned about hazards prior to entering the space (smoke,
                                                               not in use. Make space to safely store other mobility aid
strobe lighting, extremely loud sound effects etc) – see the
                                                               items (walking frames etc) as well as prams when not in
Venues – Signage section (page 29) for more information.
                                                               use. Make sure you allow (reserve) a seat next to each
Venue Access                                                   wheelchair seating space for a friend/companion. Carers
                                                               should also be seated with the person for whom they are
If your venue does not have wheelchair access at its main
                                                               providing care. All Front of House staff should be aware
entrance,	find	out	if	there	is	another	entrance.	Include	
                                                               of where accessible seating spaces are located and how
this information in your promotional material and signage.
                                                               they can be accessed.
Make	sure	any	lifts	are	clearly	signposted	and	easy	to	find	
and	that	accessible	toilets	are	clearly	identified.            Remember that in the case of an emergency, mobility
                                                               impaired persons may take longer to evacuate a
                                                               venue. Ensure that all wheelchair seating is close to an
                                                               emergency exit without hampering the person’s sightlines
                                                               or view. Front of house staff should also be aware of

 According to the Commonwealth Disability                      how to assist mobility impaired patrons in the case of
 Discrimination Act (1992) any person with a                   emergency (see Occupational Health and Safety page 10).
 disability, who feels they have been discriminated
 against, either directly or indirectly, may bring an
 action to have it remedied. People with disabilities
 also have protection under some state laws and
 commonwealth agreements including any
 Anti-Discrimination legislation.

                                                                                 ARTIST HANDBOOK
                                                                                 Adelaide Fringe 2012

Information                                                    Exhibition and Gallery Spaces
Provide access and service information for people with         Exhibition spaces should be accessible to people using
disabilities in all promotions, publicity, advertising and     a wheelchair or mobility aid. If there’s part of your space
media material as well as booking and venue details.           you	just	can’t	make	accessible	consider	providing	an	
Information should include wheelchair access and seating,      alternative way of viewing the work (i.e. photographic
accessible parking and transport, times and availability       reproductions of work or videos). Ensure there are clear
of services, interpreted performances or talks. Language       pathways through the exhibition environment (1100mm or
used to describe a person/persons with a disability should     more)	and	that	hazardous	objects	(i.e.	things	jutting	out	
be appropriate and non-offensive. International access         from	the	wall	or	floor)	are	clearly	marked.
symbols should be used to describe services for people
with disabilities.
                                                                 CONSIDER THESE WAYS TO MAKE YOUR EXHIBIT
                                                                 •	   Hang wall mounted works at a height of between
                                                                      1220m	and	1675mm	from	the	floor.		

                                                                 •	   Ensure display cases and tables are no more
                                                                      than	915mm	in	height	from	floor	to	display	
               These and more are available at        •	   Mount	objects	on	pedestals	or	plinths	no	more	
                            symbols/                                  than 1000mm in height.

                                                                 •	   Ensure aisles in the exhibition space between
Sign interpreted performances & artist talks
                                                                      sculptures, display cases, tables, pedestals or
Have you considered providing sign interpreted
                                                                      plinths are at least 1100mm.
performances or artist talks in Auslan? If you decide
to, make sure you promote the availability and dates of          •	   Use	non-reflective	glass	in	display	cases	and	
these sessions in all promotions, publicity material and              ensure a clear colour contrast between works
advertising.                                                          displayed and the cases’ surface or back panel.

To source an Auslan interpreter, contact Deaf Can:Do on
+61 8 8223 3335 or visit

At your Fringe event
Designate a couple of members of your team responsible
for the access needs of people with disabilities. Make sure
that at least one is present at all times during your Fringe
event and that all members of your group know them.
Ideally, staff should undertake disability access training.

Arts Access Victoria have developed a great collection
of practical checklists and information sheets to assist
arts and cultural organisations in improving access and
developing audiences. These can be downloaded at                                                                                                    35
Adelaide Fringe 2012

 Customer service principles should be observed at all times in Front of House (FOH) - a friendly smile goes a
 long way and might even be one of the things that makes your event stand out from the crowd.

Ushers                                                            Float	-	You’ll	need	a	float	with	enough	change	that	works	

Organise some ushers who can take tickets and/or help             with your ticket prices, and a cash box for keeping your

the audience move through the space to their seats so the         money safe. Don’t rely on your venue to supply you

house	fills	up	quickly	and	in	an	orderly	fashion.	Friends	        with one. One person should be responsible for always

can often be rounded up to volunteer with FOH duties              knowing where the cash box is and locking it away

for your Fringe event. Make sure however, that they are           between sessions. Do not leave money unattended. Buy

aware of requirements relating to volunteer insurance.            some	tickets	to	hand	over	to	your	walk-ups	–	raffle	or	roll	
                                                                  tickets will do. Ticket stubs should be taken at the door so
Communication                                                     they can be reconciled against cash taken.
It’s important that good communication systems are in
                                                                  Complimentary Tickets - If you and/or members of your
place between FOH staff and technicians and/or stage
                                                                  group are giving away tickets (also called comps) make
managers for letting the house in and getting the show
                                                                  sure you’ve got a good system in place for communicating
up. A late admittance policy will need to be agreed on
                                                                  details. Ensure a full comps list is handed to your FOH
and	reflected	through	signage	etc.	Often	your	FOH	
                                                                  by a certain time before each session. Importantly – don’t
team unwittingly double as security over your space and
                                                                  offer freebies without having made certain that you have
belongings while your show is running – so make sure
                                                                  some to give. You don’t want people turning up with paid
someone is always present when the house is in. At the
                                                                  tickets to a house that is full of comps!
end of the show FOH staff will need to clear the house and
clean up the space, removing any rubbish and ensuring             Reconciliation - Ticket sales should be reconciled and
seats are placed correctly.                                       banked at the end of each selling period – this will keep
                                                                  things on the straight and narrow – it’s much easier to see
All front of house staff must be properly briefed on
                                                                  where you’re out if you’re not poring over ten days worth
important issues such as disability access and seating,
                                                                  of	income.	It’s	probably	simpler	to	have	a	separate	float	for	
safety warnings, late admittance policy, emergency
                                                                  merchandise and program sales, which may not need to
procedures,	location	of	fire	extinguishers	etc.	See	the	
                                                                  be reconciled and banked quite as often. But make sure
Venue – Signage, the Disability Access and OH&S
                                                                  you	count	stock	each	time	you	do	reconcile	this	float.
sections of this guide for relevant information.
                                                                  Write down every ticket, t-shirt or program you sell! Make
Door Ticket Sales
                                                                  up a basic reconciliation sheet that can be photocopied
If you’re selling tickets to your Fringe event, sales will        and used to tally income for each sales period. Include
cease at FringeTIX two hours before your show opens. If           ticket prices and any other relevant information on the
there are still seats available at this time you may choose       form and it can then also serve as an information sheet for
to sell tickets at the door - usually an hour before the show     FOH.
starts	is	sufficient.	Unless	you	have	a	latecomer	policy	that	
will not allow it, it is worth staying open for sales for about   A sample Door Sales reconciliation sheet can be found on
20 minutes once the show has started for latecomers.              page 78.

This	means	setting	up	a	basic	box	office	and	a	few	
procedures to go with it:

                                                                                   ARTIST HANDBOOK
                                                                                   Adelaide Fringe 2012

The Adelaide Fringe 2012 Marketing Campaign aims to             Adelaide Fringe Staff
promote the Fringe as a whole, by increasing awareness          In addition to the Artist Services staff listed on page 3, the
of the brand, dates, locations and key special events. The      Marketing, Publicity and Media teams are available to offer
Fringe undertakes a wide range of marketing activities          advice on all matters... marketing, publicity and media.
including launches and special events, publicity, direct
mail, printed material, e-marketing, paid advertising,          Publicity Team
signage, merchandising and ticketing promotions.                They accredit media who apply to review events/ interview
                                                                artists during the Adelaide Fringe. They also have the
Some of the ways Adelaide Fringe helps artists:
                                                                mammoth task of organising allocated media tickets to
The Adelaide Fringe 2012 Guide                                  events.

Around 350,000 copies of the Fringe Guide will be               •	   Publicist
distributed around Adelaide and interstate. This is the              Anna Vincent
number one source of information for people wanting to               08 8100 2085
buy tickets. Therefore, event listings in the Fringe Guide 
are the key marketing tool for artists.
                                                                •	   Media	Accreditation	and	Ticketing	Officer                                            (all media ticketing/accreditation enquires)
Every registered event has a full page listing, which can be         Position	will	be	filled	in	November	
searched a number of ways.
                                                                Marketing Team
iPhone Application                                              Promote the Adelaide Fringe as a whole:
The Adelaide Fringe iPhone app allows people to
                                                                •	   Marketing Co-ordinator
download the full Fringe Guide and access all of the
                                                                     Peta Spurling-Brown
information about your show listed on the website.
                                                                     08 8100 2070
Media section                                              
This enables accredited media (i.e. only those who
have been approved by the Fringe) to download media
releases, biographies and high resolution images that you
have uploaded in your online media kit. They can also
access your nominated publicity contact details.

Daily Diary
All ticketed events are listed in the Advertiser Daily Diary
and visual arts events when possible.

Box Offices
We	sell	tickets	through	all	our	FringeTIX	box	office	outlets	
and through Venue*TIX outlets. These are all Fringe
themed for the duration of the festival. There is also a
phone room at 1300 FRINGE (1300 374643)                                                                                                   37
Adelaide Fringe 2012

So you spent months preparing a fantastic Adelaide Fringe        Something which you need to get straight early on is how
show. Now what about the audience?                               much you want to spend vs how much you have available.
                                                                 Unexpected expenses will come up so have some
When creating your Adelaide Fringe marketing and
                                                                 contingencies in your budget.
publicity campaign you need to do the following:
                                                                 The best way to allocate a budget is to determine your
•	   Identify your main reason for taking part in the
                                                                 objectives	and	cost	them	accordingly.	Don’t	over-stretch	
     Adelaide Fringe and plan your campaign around it.
                                                                 your wallet but you can’t rely on your Fringe Guide listing
•	   Write a marketing and publicity plan in advance -           alone.
     when	are	you	going	to	print	your	promotional	flyers?	
                                                                 This is a conservative estimate on a Fringe event Budget.
     Will you use a graphic designer? When will you print
     ads? How much do they cost? How can you reach               Graphic	design	fees	           	       	                  $350
     your audience? Which media outlets will be most
                                                                 Photographer	fees	             	       	                  $500
     interested in your event?
                                                                 Fax,	phone,	postage,	internet		        	                  $150
•	   Target audience - take your time to work out who you
     think will be interested in your event. If it’s everyone    Photocopying	      	           	       	                  $100
     you’ll	have	a	lot	more	work	to	do	than	if	you	just	focus	
     on 18 - 30 year olds or 50+ women.                          Printing	of	flyers,	posters	and	special	invitations							$500

•	   Invest time and money into some interesting and high        Distribution	      	           	       	                  $150
     quality publicity photos to use across your marketing
                                                                 Advertising	       	           	       	                 $1000
     material and to have for press enquiries.
                                                                 Total	                                                   $2750
•	   Nominate your press and marketing contact from your
     group who will look after media enquiries - do you          THE HOURS AND HOURS OF YOUR TIME?                 PRICELESS!
     have a spokesperson organised?
                                                                 Obviously depending on the size of your event, number
•	   Write a short and snappy press release that drills          of sessions and budget available, you may differ from the
     down on what is the most interesting to media outlets       above. Some of these costs you may be able to work out
     about your show.                                            in-kind or contra deals for.

•	   Use the Adelaide Fringe Media List (available in
     November) to contact media outlets but don’t neglect
     your own contacts too - does your uncle’s sister-in-
     law’s niece work for a local media outlet - perfect! Get
     in touch!

•	   Consider taking advantage of ticket promotions such
     as	Fringe	Benefits,	Rush	Tix	and	BankSA	prices.	
     It will involve offering a bit of a discount but getting
     people in the door is important - especially in the early
     part of the Fringe!

•	   Get out there and get the public involved. Talk to
     them,	give	them	a	flyer,	make	them	laugh,	make	them	
     cry;	just	get	them	interested	in	coming	along.

                                                                                     ARTIST HANDBOOK
                                                                                     Adelaide Fringe 2012

GOALS                                                           REACHING AN AUDIENCE
Once	you	have	identified	why	you	are	participating	in	the	      Where to next? You’ve worked out who you want to target,
Adelaide Fringe, you can then work out your marketing           why you want to do it, and now you need to work on your
strategy from there. Some examples are:                         marketing and publicity plan. To reach an audience you
                                                                have to start communicating with them. We’ve done our
Are you aiming to sell lots of tickets?
                                                                own bit of research on Adelaide Fringe attendees and
If so, you need to focus on who will be buying tickets to
                                                                want to share it with you!
your events, getting media to early shows and hitting
the	pavement	with	flyers	in	the	week	leading	up	to	your	        91% of respondents nominated the Adelaide Fringe
opening night and throughout your season.                       Guide as the main place where people found out Fringe
                                                                information followed by the Adelaide Fringe Website at
Do you think your event is “tour ready” and want to be
                                                                75%. This means you have to make your copy and images
picked up by another festival or venue?
                                                                sell your show and use the extra 500 words you have at
Then you need to read more about the Adelaide Fringe’s
                                                                your disposal on the Adelaide Fringe website.
Honey Pot scheme on the website and in FERS.
                                                                Over half of people find out about events to attend
Are you at the Fringe for the whole experience and to
                                                                through Word of Mouth,	with	around	40%	finding	out	
meet other artists?
                                                                through	press,	radio	and	artist	flyers.	
There are plenty of opportunities during the Fringe to meet
other artists - head to the Fringe Club, check out the Artist   Reviews	-	When	asked	where	people	find	them	they	
priced shows and come along to the Fringe Awards. With          rated	The	Advertiser	first,	Rip	It	Up/The	Fix	second,	Fringe	
so many other artists in town it’s the perfect opportunity to   Benefits	website	third	and fourth.
                                                                Generally speaking...
Do you want to lift your media profile?                         65% of Adelaide Fringe Subscribers check Facebook
Then you need to have a short and to the point media            either daily or weekly, one third subscribe to Fringe
release and some good publicity shots ready for the             Benefits	and	check	YouTube	on	a	weekly	basis.
                                                                This should encourage you to think! What areas should
Do you want to be able to apply for more funding                you be attending to, where are you going to reach your
grants for future events?                                       audience?
Then document, document, document every step of
your creative period, marketing strategy and post-Fringe        *Surveys include Economic Impact Study March 2009 and
analysis.                                                       Adelaide Fringe Subscriber Survey November 2009.

                                                                            It’s a
                                                                                       s go
                                                                                             od to
                                                                                                         d ou
                                                                                                             t from
                                                                                                                      the c

                       Hew Parham as Schmoo. Photo Tony Virgo.                                                                                                     39
Adelaide Fringe 2012

Consider how you’re going to sell yourself to stand out          Campaign Strategies
from the crowd. There are no set rules to meet this              It’s important to employ a variety of different campaign
challenge and it is often the original and off beat ideas that   strategies in the lead up to and during your event. Which
you come up with that will get you noticed. Here are some        strategies you choose and which ones are effective will
things to think about:                                           depend largely on how much research you have done
                                                                 and how diligently you follow through on your plans.
•    Who is your target audience? Is it a young crowd,
                                                                 There is no point buying advertisements in mainstream
     music lovers, families and school children?
                                                                 newspapers if your research tells you that your target
The more there are, the greater chance you have of               audience read underground street press. There is also no
selling tickets, but you will also need to employ different      point printing 500 posters if you can’t be bothered putting
marketing strategies to reach each audience type.                them up!

Build	a	profile	of	your	desired	audience	including	their	age,	   A marketing campaign should be diverse in its strategies
interests, geographic location or media they consume.            over	a	period	of	time.	Solely	relying	only	on	the	flyers	you	
Then match your promotion to these factors (e.g. music           leave at FringeTIX, for example, means that if this strategy
lovers may read Rip It Up, listen to 3D radio, use social        doesn’t work you have nothing to fall back on. Over the
media, prefer to go to gigs at ‘x’ time of night).               period of weeks leading up to and during the Fringe you
                                                                 should try combinations of strategies at different intervals.
•    What would you like your audience to know about
     your event?                                                 Posters and Flyers
                                                                 Posters	and	flyers	are	a	popular	way	of	creating	a	‘street	
•    What ‘selling points’ will attract people to your
                                                                 presence’ for your event and are the basis of most Fringe
                                                                 events’	marketing	and	publicity	campaigns.	Your	leaflet	
Remember, there is a lot of competition during Fringe time       needs to be appealing enough for potential punters to not
so it is worth thinking about the unique aspects of your         only pick it up, but to also hang on to it and hopefully come
event that will set you apart from the others.                   along and buy your tickets. But you don’t want to spend a
                                                                 fortune to produce it – ditto for the posters. Adelaide can
•    Start collecting interesting advertisements, flyers
                                                                 become a sea of posters and paper during Fringe so it’s
     and other promotional material that you like.
                                                                 important to spend the time and to get your posters right
If you see some marketing material that catches your eye,        from the beginning.
it’s bound to have caught someone else’s too! If you can
work out what your feelings are about different marketing
materials and what makes them effective (or not effective!) it
will help you make decisions about your campaign later on.

                                                                                    ARTIST HANDBOOK
                                                                                    Adelaide Fringe 2012

Writing Copy                                                     While Design...
There are a few things to remember when writing your    worth so much more! After you have a beautiful image,
copy for your marketing materials, Fringe Guide and web          you	can’t	just	paste	it	into	Word	and	add	a	bit	of	rainbow	
copy.                                                            text with marching ants border.

Be concise: It’s good practise to get the main idea of your      If you are talented in design, then go for it, otherwise
event across in a few short sentences. You can leave star        consider	contacting	a	graphic	designer	for	the	job.	You	
ratings and review quotes to the end if you’ve got space.        will be producing a fair bit of print collateral and it is great
                                                                 to	have	some	good	quality	work	at	your	fingertips	to	help	
Be interesting: Don’t	just	write	a	summary	of	the	plot	-	
                                                                 sway indecisive audience members.
you should have a hook that will grab people’s interest
and make your entry stand out on the page. Do you                Talk to the designer about payment - maybe they will be
have an out of the ordinary venue? What have you done            willing to do a deal if you include their logos on all printed
differently? If you were a punter looking for a show to          materials, give them free tickets for their suppliers etc.
attend - why would you go to yours? What’s your unique
                                                                 Use of Adelaide Fringe 2012 Logos
selling point?
                                                                 When you eventually get to creating your marketing and
Be understood: You’re trying to appeal to as many                promotional materials, you should include the Fringe
people	as	possible,	by	including	jargon	or	abbreviations	        logo,	and	if	you’re	offering	a	Fringe	Benefits	price	you	can	
you may be turning people off. Make sure that you will be        include that logo as well.
understood and use inclusive language.
                                                                 Logos can be downloaded from the Downloads/Links
Be yourself: No need to follow everyone else, try to be          section of Artist Resources in FERS.
yourself and let that shine through. We’ll be talking about
media	releases	a	little	further	in	this	guide	but	your	flyer,	   The Adelaide Fringe provides the logos freely to artists for
online and guide copy is where you can have a little fun         their promotional use. But though you can use them freely,
and	flair.                                                       their	use	is	subject	to	copyright.

“THE 50 WORDS IN THE FRINGE GUIDE ARE THE MOST                   What this means is that you cannot change or manipulate
IMPORTANT WORDS YOU WRITE ALL YEAR!”                             the logos in any way for your own use. So, while you may
                                       - 2011 FRINGE ARTIST      use	the	logos	in	your	poster/flyer	advertising	or	even	on	
                                                                 your website, you must them ‘as is’. You cannot alter or
                                                                 use any part of the logo in a different creative context
A Good Picture...                                                other than the one in which it was originally designed. worth its weight in gold during Fringe time. If you’ve     This might include, but is not limited to: adding to the logo;
got a stand out picture on your marketing material you’ll        taking a part of the logo and using it in a different context;
get people interested and to the door of your event.             animating the logo; changing the colour scheme of the
                                                                 logo, etc.
Consider using a professional photographer or if the
budget doesn’t stretch that far, a friend with an idea on
how to take a great picture.                                                                                                       41
Adelaide Fringe 2012

Tips on producing printed material:                                You can hang your posters inside clubs, cafes and
•    Use eye-catching, attention grabbing visuals -                shops windows with the approval of the individual shop
     preferably the same as you have used in your other            owners.	Be	sure	to	get	permission	first	or	your	poster	
     materials.                                                    will	be	removed	from	the	wall/window	or	your	flyers	will	
                                                                   be binned. Keep in mind too that postering on poles is
•    Include all necessary information - Title, company
                                                                   ILLEGAL without prior permission from Adelaide City
     name, dates, times, ticket prices, venue, FringeTIX
                                                                   Council. And yes, they do monitor what gets stuck on their
     phone number, website and logo.
•    Don’t try and fit too much in! - People will be turned
                                                                   Be sure to put posters up in and around your venue too.
     off	if	there	is	too	much	print	to	read	and	they	can’t	find	
                                                                   And	keep	some	flyers	handy	for	the	main	FringeTIX	box	
     the information they want.
•    Stock - Is it important that you have strong shiny
                                                                   Poster Poles/Walls: Adelaide Fringe supplies a number
     stock or are you going for the cheap photocopy feel?
                                                                   of poster pillars where you can put up posters for your
     Whatever your desired results, remember to get
                                                                   events. They will get full, so you may want to keep an eye
     quotes that suit your budget.
                                                                   out for them (to be installed around Adelaide CBD, talk to
•    Consider your end result - are you going to put               Artist Services for actual locations).
     these up around town? Then you’ll want A3 or A2 size
                                                                   Street Distribution
     at	115GSM.	Are	they	flyers?	Then	A5	or	DL	(1/3	A4)	is	
                                                                   If pounding the pavement in 40 degree heat isn’t your
     your friend.
                                                                   thing	you	may	want	to	contract	a	professional	poster/	flyer	
•	   General rule of thumb for quantities:                         distributor. There are a number of good distributors in
     Posters:       300 - 500                                      Adelaide	who	can	do	the	job	for	a	fee	and	they	can	often	
     (A3 or A2 sized posters are most common)                      poster in areas where a regular person can’t. See below:
     Flyers:        3000 - 5000
                                                                   MaD Promos
Update your print materials - nothing sells a show like            0408 340 859 or 0409 533 402
a	good	quote	or	4	stars	slapped	on	the	front	of	a	flyer.	
Remember to keep some of your printed materials so that  
you can update them during the Fringe. Just staple the
glowing	review	to	the	front	and	watch	them	flock	in.               Passing Out
                                                                   08 8177 0744 or 0430 295 270
Nothing beats distribution like an artist walking around in
costume	and	handing	out	flyers.	Some	artists	like	to	use	
gimmicks to get people to shows like chocolates (not such          Poster Impact
a good idea in summer time Adelaide) but hand held fans,           08 8362 7117
badges	or	postcards	could	all	be	beneficial.	With	cheap	 
printed	merchandise	available	on	the	internet,	you	just	 
need to remember to order your printed goods early.

With	flyering,	some	venues	and	artists	may	not	appreciate	
you spruiking a different show outside their establishment.
This is their decision - please treat it with respect.

                                                                                      ARTIST HANDBOOK
                                                                                      Adelaide Fringe 2012

Online Distribution                                                Something to remember, particularly if you’re an emerging
If you don’t have a website, Facebook, Twitter and                 artist or a smaller company is that people love the
YouTube are some of the most effective and cheapest                background story; the nuts and bolts. Take photos of your
ways of getting your show out there. If you’re not an expert       rehearsals, interview the cast and video it, write about
at those platforms, never fear! There is plenty of help out        your trials and tribulations. Basically get some interest in
there on how to use them effectively.                              your event before it happens and keep it going throughout
                                                                   the festival.

                                                                   If you do have a website, update it with all your session
                                                                   times, prices and imagery. If your link is on FringeTIX your
                                                                   traffic	is	going	to	increase.
Facebook events - Everyone who has one of these
accounts checks it regularly so creating a Facebook                Get emailing! If you’re an established company or artist,
event is a good idea to get your Fringe event dates out to         chances	are	you	have	an	email	list.	Send	an	e-flyer	of	your	
potential audiences.                                               event to your list, or a proper html email. See an email
                                                                   client such as for a free account (up
                                                                   to 3000 emails a month).

                                                                   Think you don’t have anyone to email? You’re wrong!
                                                                   Consider how many people - friends, families, professional
Twitter - One hundred and forty characters per tweet
                                                                   contacts that you have email addresses for and email
might not sound like much but it’s how you use it that
                                                                   them	a	flyer.	Ask	them	to	pass	it	on	and	spread	the	word.
makes the difference. There are heaps of websites
and blogs telling you how to be an effective tweeter.
Go to as a start.
Tweetdeck ( is a popular tweeting
platform. Use the #adlfringe and #adelaide hashtags to
reach a wider audience.

Anyone with a video or digital camera can become a
YouTube sensation these days. Post clips of previous
shows or rehearsals. Get people involved - check out ‘Bec
Hill If you can read this my cape fell off’ trailer for Adelaide
Fringe 2009.                                                                                                         43
Adelaide Fringe 2012

There are going to be lots of artists on the streets vying       YEP
for the public’s attention. Think about what you can do to       In 2011, over 4,000 Fringe tickets were issued through the
stand out.                                                       Youth Engagement Program (YEP), so securing a booking
                                                                 from a school group can be a great way to boost audience
You will likely be talking to audiences who don’t
necessarily engage with live performance and art
throughout	the	year.	You	can’t	just	tell	people	it’s	a	great	    For more information on YEP, refer to page 11.
show or exhibition, you need to tell them why it’s great.
Get quotes from your previous audiences and use them as
a promotional tool.

Be careful not to do anything that will endanger
bystanders. The people of Adelaide embrace the Fringe
but you need to respect them too. With public liability
insurance costs skyrocketing, councils and other
organisations are extremely sensitive to activities which
may endanger people and increase their premiums. Think           Fringe Benefits -
creatively but consider the wider implications.
                                                                 Fringe	Benefits	is	a	free	membership	program	for	
Ticket Promotions                                                Adelaide’s 18 to 30 year olds which offers discounted
                                                                 tickets and special deals to shows and venues all year
Offering promotional tickets or tickets deals is an ideal way
of getting bums on seats. Here are a few ideas:
                                                                 By	registering	a	Fringe	Benefits	discount	price	to	your	
•	   Consider offering cheap tickets for shows early in the
                                                                 show, we can help to market your act to over 13,000
     season	or	early	days	in	the	week	(i.e.	$10	Mondays	or	
                                                                 Fringe	Benefits	members.
                                                                 Starting	from	just	$200	a	week,	Fringe	Benefits	offers	
•	   Organise ticket giveaways through media outlets
                                                                 targeted promotion services including SMS blasts, eNews
•	   Opt in to release a limited number of tickets to            banners,	dedicated	eflyers	and	more.
     Adelaide Fringe media sponsors.
                                                                 Fringe	Benefits	also	has	a	team	of	reviewers	available	to	
These	schemes	will	help	get	the	house	filled	and	word	of	        post interviews and reviews onto our website, Facebook
mouth going early in your season; the more people who            and Twitter pages within 48 hours of your show.
see	your	show	the	better.	Not	only	will	filling	up	those	
                                                                 For	more	information	on	Fringe	Benefits	contact	
seats assist in spreading that priceless word of mouth, it
                                                       	or	phone	+61	8	8100	2061.
will also help your morale.

Once tickets go on sale you should monitor your sales
reports regularly. If a particular session is low on sales you
can add other discounted ticket offers:

•	   $10	Rush	Tix
•	   BankSA Customer price
•	   Fringe	Benefits	price

                                                                                   ARTIST HANDBOOK
                                                                                   Adelaide Fringe 2012

Cross Promotion                                                For events that do not have a suitable live performance
If you are sharing a venue with another act, or you know       content (ie. Art and Design or live performances that will
other Fringe artists, you may choose to cross promote          not translate to an open-air performance space), our
each other. The audience these artists attract may also        dedicated Fringe hosts will conduct a series of live artist
be interested in your show and vice versa. Handing out         interviews.
flyers	to	audiences	as	they	leave	a	show	(ask	the	artists	
whose	show	it	is	first)	is	often	a	good	way	of	reaching	the	   If you would like to be considered for any of the free

audience you are looking for.                                  performance/promotional opportunities on the showcase
                                                               stage, keep an eye out for a future Artist Bulletin.
Showcase Stage
                                                               Other Opportunities
From 17th February to 17th March, a 1960s styled
Caravan Showcase Stage will roll into Rundle Mall based        Be aware of what else is going during the Fringe. Make

directly	adjacent	to	the	FringeTIX	box	office.                 sure	you	have	flyers	and	posters	with	you	at	all	times.	You	
                                                               never know when you’ll need them.
This is your chance to promote your event directly to
the audiences who will be purchasing tickets. Each             Keep an eye on the Artist Noticeboard in FERS for any

promotional performance will last between 5 and 10             pre-Fringe opportunities. During the Fringe, these will be

minutes and there will be up to 30 live performance            posted in the Artist Services Bureau.

opportunities daily.

Publicity	is	a	free	flowing	medium,	driven	by	news	media.	     Your Media Kit should contain the following:
You cannot buy it and you cannot control what the media
                                                               •	   A one page media release.
writes about you.
                                                               •	   A background sheet with biographies for each artist/
Therefore you need to take the time to properly plan                performer/writer/director; information about the
and develop the key messages your publicity delivers to             company or gallery; and past reviews.
the media. You need to identify what makes your story
                                                               •	   Photographs - JPEG images, one portrait, one
newsworthy and why media should be interested in you
                                                                    landscape,	300dpi	for	print	quality,	with	a	file	size	no	
more than the hundreds of other stories competing for the
                                                                    larger than 1MB so it can be emailed.
same media space.
                                                               •	   CD or electronic sound-bites (if available).
Media Kits                                                     •	   TV	show	reel	on	video/DVD	or	MPEG	files	(if	
A key part of your publicity plan should be your media              available).
kit. This kit should be ready to send to your target media     Ensure your kits are packaged and ready to go in either
by early January. If you wait until the week before your       electronic	or	print	format.	Some	journalists	cannot	accept	
Adelaide Fringe season you may miss out on media               large	files	or	attachments,	so	if	in	doubt	post	it	–	but	
coverage. It is also important to remember that some           make sure it is all on a CD so they can duplicate your
media outlets have long lead times.                            information and images.

                                                               You should also aim for your Media Kit to stand out without
                                                               being too gimmicky. A fantastic image of your event on the
                                                               front	of	your	folder	or	CD	may	be	just	enough	to	attract	a	
                                                               journalist’s	attention.                                                                                                    45
Adelaide Fringe 2012

The key to advertising is reaching your target market. It is    have different rates attached (advertisements are usually
arguably the most cost effective media in terms of dollars      more	expensive	in	the	first	few	pages).	So	talk	to	the	
spent per person. But this is only if it stands out. Get your   newspaper and ask lots of questions before you commit to
ad and your ad placement right and it could be the best         purchasing any space.
investment you make!
In your advertising make sure to include all the important      Commercial radio advertising has the potential to reach
details:                                                        a very broad audience. While it can be moderately
•	   Event title and artist/company name                        expensive, it can be extremely effective and powerful
                                                                if you make full use of all services radio stations have
•	   Venue, dates and times (and ticket prices if relevant)
                                                                to offer. Radio can provide you with not only an ad, but
•	   Adelaide Fringe 2012 logo (downloadable from Artist        could include live reads, promotional on-air and street
     Resources in FERS)
                                                                giveaways, interviews and opportunities for interaction and
•	   FringeTIX booking telephone number & website               promotion online.
                                                                •	   Radio can reach a mass audience and it’s great for
•	   Sponsors and other logos
                                                                     word-of-mouth advertising
                                                                •	   It’s	everywhere	-	home,	office,	car,	shopping	centres,	
Press media is an effective advertising option. It is read
                                                                     phone-on-hold and online streaming
by	a	large	majority	of	South	Australians,	production	time	
and investment is comparatively low (when compared with         •	   Community radio may be a cheaper alternative,
radio	and	TV)	and	there	is	a	great	flexibility	with	size	and	        however be aware of the reach, as you may get
day. Press also has a wide range of products available               cheaper ads, but not as many people may hear them.
that will suit your various target markets.
                                                                Other Advertising
•	   Various local publications print Adelaide Fringe related   There are plenty of other places out there that will happily
     information                                                sell you space to advertise your event. Think laterally
•	   Investigate early as some have long lead times             and do your research. What about bus shelters, Fringe
                                                                Benefits,	website	banners,	the	back	of	toilet	doors…
•	   Have some cash at your disposal as advertising can
     eat up your budget.                                        Online

Some publications or newspapers can generate ad                 •	   Online advertising can be effective i.e. you only pay
artwork on your behalf. Alternatively you may contract a             for what you use - click-throughs etc.

graphic artist to design your ads.                              •	   E-newsletters are a good way to reach people

Common ad sizes include 1/10 page, 1/8 page,                    •	   Consider	your	target	audience	-	Fringe	Benefits	is	
quarter page, half page and full-page advertisements.                a program for 18 - 30 year olds and offer very cost
                                                                     effective advertising methods - see previous page
Newspapers also sell advertising space by the column
centimetre. Most newspapers will be happy to send               •	   Facebook ads
you their rate card if you contact their Advertising Sales      •	   Google Adwords
                                                                • Online street magazine -
Don’t	just	limit	yourself	to	the	arts	pages.	Are	there	other	        contact
sections of the newspaper or publication that might be          •	   Keep in mind that most print publications also have
relevant to your event? If you have a family show and                online versions. You might be able to arrange a
your target audience is children, is there a kids section?           discount package to cover both mediums.
Different pages and different sections in a newspaper may

                                                                               ARTIST HANDBOOK
                                                                               Adelaide Fringe 2012

                                                             Artwork for your advert needs to be clear, strong and
Advertising in the Fringe Guide/ iPhone app/ FringeTIX
                                                             evocative. This doesn’t mean you have to spend big bucks
Advertising in either the Fringe Guide, on the iPhone
                                                             on a graphic designer to do something fancy. Sometimes
app*, or on FringeTIX is extremely effective in creating
                                                             the most memorable ads are the simplest. You do need
awareness and generating interest in shows across all art
                                                             to know what you’re doing though. There are very strict
forms. A concise advertisement will work well, but keep
                                                             guidelines about what type of artwork can be accepted
in mind that it needs to stand out to compete with other
                                                             so if you don’t know exactly what you’re doing it would
ads and stimulate a desire in audiences to take action
                                                             be best to speak to someone who does. There’s no point
to partake in your show. Space is limited so register your
                                                             designing a fabulous ad and then discovering it’s in the
interest early to make sure you don’t miss out!
                                                             wrong resolution and you have to start again from scratch!
The	2012	Advertising	specifications	and	rates	will	be	
                                                             * In 2011, the Adelaide Fringe iPhone application was used
available to download from FERS in November. They can
                                                             by over 20,000 people, with 120,000 browsing sessions.
also be emailed or posted to you.

             Screen shots from Adelaide Fringe 2011 iPhone app, showing (L) Menu and (R) event listings.                                                                                               47
Adelaide Fringe 2012

The power of a great photo                                     Don’t ask for too much of their time
The inclusion and placement of a story is hugely               Make it easy for them - have good information and images
influenced	by	the	pictorial	editor	of	a	publication.           in formats they can use, ready to go.

A bright, energetic, strong, clear image is a powerful tool.   Be available
If great stock shots of a company or production already        They will need the interview, information and images,
exist, an arts editor may choose to use one of these,          yesterday. The quicker you can provide what they need
especially for a review (close, clear, colourful shots – not   the more likelihood of a story.
full cast shots).                                              Work with their timelines
                                                               Often you will need to set up photo opportunities in the
Some publications will take their own shots, however, this
                                                               morning to make the next day’s paper. Events after 6pm
can be rare. It’s also unlikely that they will chase you for
                                                               are not useful for anyone other than social pictures –
photos if you email and tell them that photos are available
                                                               newspapers are on skeleton staff in the evenings and
-	save	time,	make	the	images	a	manageable	file	size	and	
                                                               chances are they can’t spare a photographer for your
send them with your media release.
Rolling with the punches
                                                               Don’t complain - EVER!
You will not always be able to determine the focus of a        Most media are working within impossible timelines and
story. The media will not necessarily adhere to what you       with increasingly fewer resources. They may not print
see as the most important message of your story and may        exactly what you wanted, and occasionally they get
enhance or highlight an element of the story which you         their facts wrong. For the sake of your long-term media
see as irrelevant. For example, the quirky hairstyle of one    relationships, if they get it wrong – don’t complain, be
of the performers may be more interesting to a tabloid         gracious and offer them an opportunity for a new story with
journalist	than	the	political	message	of	your	show!            a different angle rather than asking for a correction to be
Dealing with journalists
Journalists are under constant pressure to meet deadlines      What makes news?
and are competing with their colleagues in the newsroom,       Journalists will run a mile from stories they consider to
and	other	journalists	working	for	competing	networks,	for	     be overtly promotional. They are looking for stories that
the story.                                                     appeal to their readers with interesting angles.

Some	tips	for	dealing	with	journalists:                        Think about the elements of your event that are topical,
                                                               timely,	politically	or	economically	significant,	first	time/
Give them a reason
                                                               last time in Australia/Adelaide, technological advances
When planning or preparing any communication with
                                                               meshing with culture, human interest, funny, tragic, sad,
the media (whether written or verbal) ask yourself the
                                                               heart-warming, unusual, witty, award-winning, celebrity, or
following questions:
                                                               have an interesting back story.
Why is your story more newsworthy than everyone else’s?
                                                               Don’t say you are fabulous - let someone else say it in
How does your story impact on other people?                    the form of a quote (positive press quotes from previous
                                                               reviews are great to include in your media release).
Why should they be interested?

Remember:	a	journalist’s	reason	for	writing	a	story	is	very	
different from your reasons for wanting a story written. You
may want a story written to help boost ticket sales but that
is	probably	the	furthest	thing	from	the	journalist’s	mind.

                                                                                     ARTIST HANDBOOK
                                                                                     Adelaide Fringe 2012

 An Adelaide Fringe show in itself is often not newsworthy. There are hundreds of Fringe shows. The trick is
 to identify the media your publicity campaign will target and work out what will make your show stand out to

Print Media                                                       Fresh FM: Community radio station that features music,
The print media you choose to target may be a large-              programs and stories that focus on youth and club culture
circulation tabloid newspaper such as The Advertiser
                                                                  Three D Radio: Community radio station that features
or the Sunday Mail; a community newspaper such as
                                                                  music, programs and stories that focus on youth street
the Messenger; a lower circulation publication like the
                                                                  culture as well as the arts, environment and other social
monthly The Adelaide Review; a glossy personality
focused magazine such as Adelaide Matters or SA Life;
or a street press such as Rip It Up, Onion, The Fix, dB,          Radio Adelaide: Community radio station that features
or Blaze.                                                         a wide array of programs and stories that cover many
                                                                  different music styles, age groups and audience
Each publication looks for something different and
exclusive for its coverage, so research the publication you
would like to target by picking up a copy and seeing what         Television
kind of stories they run. It is really important to tailor your   All	major	networks,	except	SBS,	produce	a	daily	local	
message to them.                                                  news bulletin. The locally produced current affairs
                                                                  programs are Channel 7’s Today Tonight on weeknights
For example, a community theatre group with strong
                                                                  and ABC’s 7.30 South Australia on a Friday night.
local	ties	might	be	a	great	fit	for	the	Messenger;	a	circus	
with bright costumes might make an attractive photo               To make TV news outside of ‘hard’ stories you need an
opportunity for the Advertiser or Sunday Mail; a dancer           incredibly good vision opportunity.
with an inspiring life story might work for Adelaide Matters;
a promising new band, comedian or cabaret star might              Trying to attract television coverage is not the best use
entice Rip It Up, dB or Blaze, and an interesting local           of your time unless you have a product that is visually
visual artist could suit the Adelaide Review.                     irresistible to cameras – such as a four-metre high stilt
                                                                  walking circus character or something similar. With these
Print and online media need a fantastic image to go with          kinds of stories, you will generally see them as a closer
their stories. If you do have a high quality image of your        – footage shown after the weather at the very end of the
own	always	email	it	to	print	journalists	with	your	media	kit.     news. A short intro is generally offered by the newsreader.
                                                                  It is unlikely that you will be interviewed for these kinds of
Community radio stations can be very arts friendly
and keen to do telephone interviews or live studio                Online
appearances. Often these stations are staffed by                  The Advertiser, Sunday Mail, Independent Weekly,
volunteers who present differently focussed programs. It is       Nova919, Glam Adelaide and Rip It Up all have a strong
a	good	idea	to	call	the	radio	station	manager	and	find	out	       online presence; is a national youth-
what the best email address is to send your media release         oriented	site	with	a	high	readership;	and	fivethousand.
to.                                                      is a youth oriented site with a strong underground
Radio stations you might like to pitch to include:
                                                                  Websites often have multiple daily deadlines and can
NOVA 919: Commercial radio station and media partner
                                                                  therefore be effective targets for stories with a short lead
for the Adelaide Fringe, with a target market of 18 to 35.
                                                                  time.                                                                                                        49
Adelaide Fringe 2012

A Media Release is aimed at providing a ‘hook’ for media         Lead paragraph
to	generate	a	specific	story.	It	should	answer	the	following:	   Your lead paragraph must support the headline and
Who, What, When, Where, Why, How much and How                    contain the whole point of the story. This is where you
many.                                                            answer	the	“who,	what,	why,	where	and	when”	questions.	
                                                                 The	quality	of	the	first	paragraph	can	determine	whether	
Consider the tone and style of the publication, website or
                                                                 the news release is used. It must stand on its own and
station to which you are sending your press release. Is it
                                                                 serve as a concise summary of what you what you are
serious, gossipy, mainstream or underground?
Put	the	strongest	part	of	the	news	story	in	your	first	couple	
of paragraphs. Do not let your release run over a page
as most journalists will not bother to read it.                  Write the release in present tense and as you would
                                                                 expect to see it in print. Make sure your paragraphs are no
Consider the end reader. What would inspire them to              longer than three lines wherever possible.
attend the event and what practical information would he/
she need in order to attend or buy tickets?                      The following paragraphs develop what you have
                                                                 said	in	the	first	paragraph.	Here	you	provide	details	of	
Check and double check the release for date and spelling         achievements, awards and all other points of interest and
errors (especially of names), and factual inaccuracies.          importance. Keep it simple, sharp and memorable, and to
The mobile number of the person writing the release or a         one	major	point	per	sentence.
representative from the group should appear at the bottom
of the page,                                                     Include background information on you and your show;
                                                                 journalists	love	funny,	quirky	or	interesting	details,	
Writing for the media is different from writing for marketing.   elaborate	on	your	introduction	(in-house	jokes	or	humour	
For example, don’t use words like ‘awesome’, ‘fabulous’          relating to religion, politics, culture or country should be
etc as a statement of fact as you would in marketing.            carefully considered).

Positive statements about your show must be attributed to        Use quotes to tell the story of the event from the
someone (eg. your spokesperson) in the form of a quote.          performers, characters, director, artist or curator.

Release date                                                     Closing paragraph
Usually media releases will be for immediate use, however        The	final	paragraph	should	provide	interesting	background	
there will be times when you want the press to know about        information on you and your event. You can provide
something early but not actually print the information until     reviewers’ quotes, information on when and where the
after	a	specific	date.	In	the	top	corner	you	should	write:       event will occur and state that tickets can be purchased at
                                                                 Signify the document’s end with:
Or to delay the release, write:
                                                                 Contact details
                                                                 Always include your contact details at the bottom of your
Your headline should be clear and simple. Don’t try to
                                                                 media release, as in the following:
be too gimmicky or funny. You want to catch someone’s
attention because the headline is strong, not because they       For further information, please contact:
don’t	understand	the	joke.                                       Your name
                                                                 Tel / Mob
                                                                                  ARTIST HANDBOOK
                                                                                  Adelaide Fringe 2012


Adelaide Fringe has shown continued strong growth for yet another year, with at least 740 events registered to take part
in the festival in 2011.

Adelaide Fringe Chair Judy Potter announced the number of registrations at a special event today to unveil the festival’s
2011 poster.

“Adelaide Fringe is the largest arts festival in Australia and continues to grow, as evidenced by our fantastic number of
event	registrations,”	Judy	said.	“In	2011	we	look	forward	to	welcoming	more	than	740	events,	a	65	percent	increase	in	
event	registrations	since	2006.”

Adelaide Fringe’s 2011 poster created by 31-year-old Bulgarian designer Kamen Goranov is as strong as event
registrations, featuring two wild characters made up of a collage of photography, stencil, paint and computer-generated
imagery.	Kamen’s	prize	includes	a	$1000	Flight	Centre	voucher.

“I’m	so	happy	my	poster	will	represent	Adelaide	Fringe,”	Kamen	said.	“The	inspiration	for	my	design	was	to	create	an	
ironic, sarcastic and humorous image combining different elements, using mainly a collage technique. As Adelaide is
situated on the coast I gave both characters some marine attributes, a ship tattoo for the king and octopus arms for the
queen. My intention was to create some weird, strange icon but with some attributes, like the two crowns, that identify
them	as	king	and	queen.”

Adelaide Fringe Director and Chief Executive Greg Clarke said like many Adelaide Fringe events, the two characters
defy	classification.

“Adelaide	Fringe	is	about	diversity	and	our	alternative	king	and	queen	embody	this,”	Greg	said.	“Kamen’s	entry	was	
chosen as his characters capture the spirit of Adelaide Fringe – they are different, imaginative, diverse, to some strange,
to others playful and out of this world.

“Adelaide	Fringe	has	often	received	national	and	international	entries,	but	this	is	the	first	year	someone	from	overseas	
has won. Adelaide Fringe is a world-renowned arts festival that attracts artists and audiences from all over the globe, so
we’re	happy	to	welcome	an	international	designer	to	the	family	of	Adelaide	Fringe	poster	competition	winners.”

Bank SA Managing Director Jane Kittel said the poster was a vibrant addition to the Adelaide Fringe poster family, which
has	featured	characters	from	leaping	fish	to	startled	deer,	excited	babushka	dolls	and	tutu-clad	astronauts.

“The	poster	is	bright,	fun	and	unique,”	Jane	said.	“No	doubt	it	will	drive	audiences	to	get	involved	in	the	Adelaide	Fringe	
and	BankSA’s	audience-driven	Adelaide	Fringe	news	and	reviews	website”

Minister assisting the Premier in the Arts John Hill said the Adelaide Fringe poster launch was an exciting marker in the
lead up to the festival.

“More than one million people attended Adelaide Fringe events in 2010 – and with a poster this vibrant, it looks like
everyone	will	want	to	get	their	tentacles	on	tickets	for	2011.”

For more information contact: Michelle Read / Publicist
(08) 8100 2000 / 0411 xxx xxx /

                                                           - ENDS -                                                                                                   51
Adelaide Fringe 2012

Once	you’ve	prepared	your	media	kit	and	identified	which	        Radio Interviews
media outlets you would like to target, it’s now time to pitch   If	the	media	opportunity	is	a	radio	interview,	confirm	arrival	
your story.                                                      time at the studio for the artist – with plenty of time to
                                                                 spare before the on air/pre-record time.
Pitching a Story
Write	an	email	directly	to	the	identified	journalist/editor/     Alternatively, you may need to set up a pre-recorded or
producer	with	an	arresting	subject	heading	in	the	email	         phone interview if the producer/presenter would like to run
(this might be the title of your release or a direct reference   the story but does not have a live spot available.
to a photo/vision opportunity) and attach your media
                                                                 Confirm, Confirm, Confirm
release to the email.
                                                                 Once	confirmed,	THEN	put	all	of	this	information	in	an	
In	the	body	of	your	email,	be	direct	but	friendly,	briefly	      email	to	the	journalist	and	call	AGAIN	on	the	morning	of	
outlining the gist of the release/story opportunity. Offer to    the	media	call	to	confirm	that	the	interview/picture	is	still	
set	up	a	photo/interview	time	with	the	journalist	and	the	       happening and that the time and place is still ok.
‘talent’/spokesperson of the story.
Attach a photo of the artist/production, if you have one         If you do get some media coverage for your event, it’s a
available, to further demonstrate the potential visual           good	idea	to	keep	track	of	it.	Do	not	ask	journalists	to	send	
strength of the story. If the image and story is strong          you tapes or copies of the article, this is your responsibility.
enough, the pictorial editor may choose to use that photo        Clips can be used in reports, sponsorship proposals, grant
(must be scanned at no less than 300dpi, 1MB) or may             applications	and	in	media	kits.	Be	sure	to	keep	these	filed	
send a photographer to take another picture.                     and dated.

The Follow Up                                                    Evaluating Media Coverage
Call the next day to follow up your pitch. This call should      The quality of the article should take precedence over the
be simply be to double check that the release has been           number of articles you received.
received. Don’t try to re-sell the newsworthyness of the
story over the phone or apply too much pressure. Selling         Reviews
the story should have been accomplished in the media             An effective way to gain media exposure. Allocate as
release.                                                         many media tickets as feasible to generate reviews.
                                                                 Having	a	journalist	attend	your	event	however	does	not	
Refer to your email and ask if they are interested in            always guarantee a review (nor does it guarantee a good
the story and again if they would like you to set up an          one!). Keep all reviews, the good, the bad and the ugly -
interview/photo opportunity.                                     you may be able to use this as constructive feedback!

If they say yes, ascertain some available times of the           Any Questions?
journalist/producer/presenter	and	then	get	in	touch	with	
                                                                 The Adelaide Fringe Publicity Team is here to help, so
the spokesperson (which may be you!) to arrange the
                                                                 should you have any questions about how to conduct a
media call.
                                                                 Media Call or select the most ‘newsworthy’ story for your
Once	you	have	a	time	locked	in,	call	the	journalist/             event, don’t hesitate to contact them.
producer	and	confirm	the	time	and	place	of	the	interview/
picture.	Remember	to	ask	if	the	journalist	is	happy	to	
                                                                 Anna Vincent
book the photographer (if press) or if you need to contact
                                                                 08 8100 2085
the pictorial department to line it up. Never wear black
for a press photo opportunity, colourful, larger-than life
costumes are best.

                                                                                ARTIST HANDBOOK
                                                                                Adelaide Fringe 2012

 If you don’t know about it already, The National Association for the Visual Arts (NAVA) has developed
 great reference material specifically for visual artists. Visit their website at for more

Adelaide Fringe wants to make the Fringe and being a
                                                              DEADLINE CHECKLIST
part of it more Art & Design (or Visual Arts) friendly. We
                                                              ‰ Divide your workload into identifiable steps
recognise	and	celebrate	the	significance	of	the	growing	
                                                                 or sections
breadth and presence of visual arts practice in Adelaide
Fringe over the years. Encouraging greater participation      ‰    Final confirmation of venue and venue
and providing more opportunities for visual artists is the         contract
reason behind changing the name of the stream to the
                                                              ‰    Sponsorship / Grant Application
more inclusive Art & Design.
                                                              ‰    Confirmation of freight bookings, both for
This section of the Artist Handbook has been designed              collection from you and delivery to venue
to give you all the information you need to make your              and vice-versa
exhibition or installation a success. It focuses solely on
aspects relevant to visual artists, so we do suggest you      ‰    Media Kits

read the more general sections, especially those on           ‰    Distribution of printed material including:
planning, budgets, timelines and insurance.                        Invitations to Opening Night/Media Launch
                                                                   Promotional poster and/or flier
There are plenty of things to think about over the next       ‰    Opening Night Event Planned
few months. Your visual art event is one of around 100
so you’ll need to work hard to get those punters through
the door. Planning ahead and taking advantage of all the
excellent Fringe marketing available to you, will give you
                                                             If you haven’t done so already, we suggest you have a
the best chance of achieving your desired outcomes.
                                                             look at the section on Budgets, Grants and Sponsorship
First of all... Expect the Unexpected!                       on 19 of this handbook. While some of the information
To deal with all the competing demands on your time and      presented there is only relevant to ticketed events, it is still
energy, preparing a calendar with deadlines is a great way   worth	taking	note	of	the	advice,	especially	if	the	financing	
to plan your time. You need to have an idea of timelines     of your event is an important issue for you.
for	the	development	and	completion	of	your	project	or	
artworks ready for their presentation at Adelaide Fringe
Think of everything you need to achieve, when you need        Ensure that with each published reproduction of
to achieve it and how long it will take to achieve each       your work: it’s credited with at least your name;
                                                              check your rights for fees or royalties; be informed
outcome. Work backwards from your opening event or
                                                              on its use. Check out:
opening day, allowing yourself extra time for things you
can’t foresee now and plan the order of everything which      VISCOPY licenses the copyright in artistic works
needs to happen. This will (hopefully) ensure everything      and pays the artist or copyright owner a royalty for
will happen on time and without a rush.                       the reproduction. For further information go to:
Adelaide Fringe 2012

 For more information on finding the right venue for your exhibition, see page 25 of this handbook.

A variety of venues suit a vast range of events, each             It’s important to assess these needs on an initial inspection
with differing policies, procedures and punters. The ideal        with the venue owner and you will most likely need to have
situation	is	one	in	which	the	venture	is	mutually	beneficial	     your own Public Liability Insurance (page 22). The biggest
to	you	both.	It’s	great	when	you	find	a	venue	that	suits	         downside is that there’s always the chance that the space
your work - practically, aesthetically, conceptually, and with    will be leased or sold by the time Fringe starts, so unless
adequate visibility and visitation. It’s also important that      you have a written commitment, you may need a backup
it’s affordable and viable, so weigh up your expectations,        venue.
aims and practicalities (both the obvious and the obscure),
                                                                  Cafés / Restaurants / Pubs / Clubs
before committing to hire or rental fees and sales
commissions etc.                                                  As hire/rental fees don’t usually apply, you will need to
                                                                  negotiate any commission-based sales on the level of
Commercial Galleries (Private Galleries)                          involvement the venue will have in handling sales and
Some galleries may invite or give new or not already              inquiries. Remember to consider how the venue might
represented artists a one-off show, to test the waters or         contribute to any necessary costs or requirements (e.g.
for a change in their usual cycle. Gallery commissions            promotion, opening event, insurance etc.).
are often between 33% and 50%, depending on the
                                                                  Some	of	the	pros	include:	huge	visitation	and	public	traffic	
level of commitment and investment the gallery offers
                                                                  potential, possible window frontage space and existing
in representing your work (i.e. exhibition/event costs,
                                                                  patron turnover, an expendable income environment and
promotional and advocacy strategies and implementation).
                                                                  already captured audience. Cons can be: limited space
Usually these venues have staff who will assist with              (you’re co-habiting with the venue’s core business), non-
installing the show in consultation with the artist. While        negotiable and pre-existing hanging points and the risk of
this opportunity might lead to future representation, never       damage.
assume anything or allow the gallery to either. Clear, open
                                                                  Outdoor (Public) & Building Foyers
and frank discussions, backed up by written agreements
are usually the best way to go.                                   These are usually secured with approval from and in
                                                                  consultation with local council. It is essential to adhere to
Empty Spaces (Buildings/Shops)                                    strict relevant OHS&W and Public Liability policies and
While	these	may	seem	like	“dream”	venues	-	due	to	                procedures so that it is safe for you, the venue and the
their apparent freedom of space and often (although not           public.	The	biggest	benefit	is	the	huge	public	exposure	
always) being free of rent or fees - there are some catches       with immediate and direct access to the public. The
to consider. Many buildings are zoned for a certain use           biggest drawback is the lack of security, which isn’t a
(industrial, residential, retail, etc.) and if the venue alters   problem if your work is designed to be vulnerable to the
the way in which the building itself is used, the venue           elements and to the antics of unpredictable public.
should have completed a development application.
                                                                  Public Institutions
There’s every chance the space will be disused and                These often have available alternative spaces with
require a clean up or upgrade (approved by the venue              high	public	traffic;	e.g.	hospitals,	schools,	arts	and	
owner), to a standard approved by local council. For local        cultural institutions. These more unexpected spaces
council information go to or                    can foster new interfaces for arts and audiences in
Adelaide City Council                the everyday. Some advantages include potential high
                                                                  exposure, capturing new audiences that may never have
                                                                  experienced art or made it to an Adelaide Fringe.

                                                                                 ARTIST HANDBOOK
                                                                                 Adelaide Fringe 2012

EXHIBITION PROPOSALS                                          •    Requirements: for any machinery, audio visual or
To secure a venue you may need an exhibition/event                 special effects equipment that may need operating,
proposal for the venue owner, manager or relevant                  monitoring and maintenance throughout your
authority (i.e. local council), which clearly and concisely        event duration, and requirements for any technical
outlines	your	project	and	how	you	plan	to	achieve	and	             assistance	that	may	be	required	–	e.g.	adjusting	of	
present it. Most galleries will have an exhibition proposal        lights etc.
guide which you can access from their website or by
contacting them directly. Keep in mind that sometimes         •    Your full contact details: highlight the ones that
galleries take a long time to process proposals and factor         are the easiest and most effective in reaching you;
this into your planning.                                           don‘t include any that you rarely use or check; these
                                                                   could be the difference between getting a gig or an
In general, your proposal should include:
                                                                   agreement that suits you, and missing out.
•   A curriculum vitae or biography: keep it to no more
    than two pages; if your CV or bio is huge, submit the     Practicalities
    best and most relevant and recent achievements and        Some	venues	are	fine	with	having	new	holes	in	their	
    activities, and invite requests for a more detail.        walls, as long as you return the space to its former glory,
                                                              immediately after your event. Some venues may have a
•   Documentation of your recent work: digital images
                                                              range	of	restrictions,	so	always	check	first.	Establish	what	
    are most convenient. If your work is moving image,
                                                              kinds	of	fixings	are	acceptable	and	appropriate	for	the	wall	
    preferably provide a copy of your work on DVD.
                                                              type or load-bearing weight.
•   A general description or ‘elevator pitch’ of your
    work: so the person assessing your proposal can           In ALL cases, assess, determine and confirm:
    understand what the work physically is in one or          •	   access for bringing your work in and out, and for the
    two sentences, e.g: a series of 6 small lightboxes             public (including disability access)
    depicting abstract colourscapes to be mounted on
                                                              •	   which areas of the venue can be used and how the
    the wall, and an accompanying moving image work of
                                                                   works can be displayed
    looped	sunsets	to	be	projected	next	to	the	lightboxes	
    using	a	data	projector.	                                  •	   what areas can be used for opening night drinks and
                                                                   nibbles preparation (if required)
•   An artist’s statement: the conceptual underpinning
    of your artwork – start with one attention grabbing       •	   the venue’s existing power points and existing lighting
    sentence which encapsulates the general themes and             facilities
    content of your artwork. Then lead in to a couple of
    paragraphs that describe further the issues addressed     •	   the	wall	types	(for	best	fixings)	and	load-bearings	of	
    and explored in your work. Be as in-depth as needed            points you wish to suspend work from, or sit heavy
    based on the level of connection the other party will          works on
    have with your event, but also invite discussion for
                                                              •	   the use of any existing exhibiting equipment (such
    further elaboration on the theoretical background to
                                                                   as AV or display cases) and installation/production
    your work.
                                                                   equipment and tools
•   Desired event dates and viewing times (taking into
                                                              •	   see if the venue offers staff to help install your work
    consideration the nature of the venue)
                                                                   (with or in consultation with you)
•   Installation and dismantling timeframes and
    requirements (including access)

•   Proposed use of space: layout, opening night, public

                                                                                             - 2009 FRINGE VISUAL ARTIST                                                                                                    55
Adelaide Fringe 2012

In addition to the information contained on page 26, visual    INSURANCE:
artists should tailor venue agreements to suit their own       Stipulate who is responsible for insuring the event
particular needs.                                              (including Public Liability) and the individual arts works
                                                               from theft or damage.
Main crucial details to negotiate and agree upon are:
•	   who is responsible for the costs of: cleaning, upgrade,   Product Liability
     installation, freight, opening night event, invitation,   You should also be aware of product liability insurance.
     fliers,	marketing	etc.                                    This	type	of	insurance	covers	any	injury	caused	to	another	
                                                               person by your works for sale. It is important that when
•	   who	is	responsible	for	“sitting”	(gallery	attendance)	
                                                               you are investigating insurance for your Fringe event that
     the venue and for monitoring your event
                                                               you ask a reputable insurance broker whether you should
•	   what are the security conditions and requirements         be covered by product liability as well

•	   sales commission and their terms and conditions           For more information about Insurance for Visual Artists
                                                               go to
•	   event dates, including: installation, running dates and   typesofinsurance.
     opening event, and dismantling
                                                               DAMAGED ARTWORK:
•	   access for the installation and removal of your work,
                                                               Detail a mutually agreed upon statement that covers who
     and public access (including disability)
                                                               takes the responsibility for damaged artwork. Include if you
•	   installation:	modifications,	painting,	fixings	etc        can the general types of damage that could occur, e.g. art
                                                               falling off wall or plinth, art being knocked off wall or plinth,
•	   copyright status (rights) and agreements                  artwork	or	technology	(projector,	TV	etc.)	being	tampered	
                                                               with; and by whom, e.g: artist, staff, visitors, or patrons,
AGREEMENT HEADINGS (These are in addition to                   and the possible recourse that could/should then be taken,
those listed on page 26):                                      e.g: informing artist, then reimbursement, replacement, or
INSTALLING & DISMANTLING:                                      cancellation of exhibition.
Outline the plan for each, including timeframes, access,
coordination and task responsibilities etc.. Include who is
                                                               If your venue isn’t a gallery, acknowledge the core
responsible for the costs and coordination of install and
                                                               business of the venue, and how it relates to matters of
                                                               security,	like	“sitting”	or	monitoring	the	event.	Include:	
INTELLECTUAL PROPERTY:                                         installation dates; venue/viewing hours; dismantle dates,
Get savvy about Copyright and Moral Rights policies and        and access details.
protect yourself. Copyright of your work usually remains
with you, unless you agree to sign it over. If you agree to
                                                               Stipulate: if your work or any associated merchandise
permit another party to reproduce images of your work, be
                                                               is for sale, how that will be made apparent to punters,
super clear in determining and negotiating the conditions
                                                               who takes enquiries, who handles sales, what the sale
and limitations. A Moral Rights policy now exists that’s
                                                               process is (from point of purchase to full payment and
attached to the current Copyright Laws. Moral Rights
                                                               delivery of work). Clearly state any agreements regarding
addresses the nature of the use of your images; you
                                                               commissions and their terms and conditions.
usually can’t sign them over or have them taken from you.

                                                                                    ARTIST HANDBOOK
                                                                                    Adelaide Fringe 2012

Freight                                                         •	   Make	sure	the	final/outer	layer	of	packaging	is	sealed	
If you’re using a freight or courier company, it’s usually           properly, to avoid catching and tearing open in transit
worth	taking	out	the	extra	insurance	just	in	case.	Even	if	
                                                                •	   clearly label all packages with: FRAGILE + delivery
they	are	a	reputable	company,	you	just	never	know!	
                                                                     details + your contact details + directional arrows.
Ask about your freight company’s packaging policies
                                                                Installing & Dismantling
and make sure you and the company are completely
                                                                Early troubleshooting is a great habit into get into. Aim to
happy with the way your work is prepared for freighting
                                                                confirm	details	in	plenty	of	time	and	have	good	back-up	
as the onus of any damage is usually based on “proven
                                                                plans in place.
negligence”.	You	also	need	to	make	sure	that	the	delivery	
truck isn’t too big or heavy for your venue’s loading areas /   To avoid heaps of potential crisis management - at a time
delivery points load-bearing limit.                             when	you	want	to	be	enjoying	the	Fringe	and	your	part	in	
                                                                it, it is relatively crucial to pre-empt things like:
If you sell a work, it’s usually the responsibility of the
purchaser to bear such costs, but you ought to have a           Adequate access to:
clear plan to make sure you’re not lumped with sold works
                                                                •	   Venue operating times and your anticipated install
between the end of your event and the time you need to
                                                                     and dismantle times; out of hours if necessary?
clear out of your venue.
                                                                •	   Loading area for delivery vehicle; drop off and pick up,
There are some basic Dos and Don’ts when it comes
                                                                     how often and when
to packing artworks, here are some of them:
•	   Package 2D works front-to-front and                        •	   Physical means of getting your work into the venue;
     back-to-back (this goes for stacking and storing too)           best routes, lifts, trolleys, extra hands

•	   Ensure that no corners or edges are poking into any        •	   Your venue’s relevant load-bearings and associated
     surfaces (especially those which are non-rigid or               need for professional technicians or extra hands,
     vulnerable)                                                     particularly in relation to the weight of artwork you’ll
                                                                     be suspending, or super heavy standing works
•	   Keep bubble-wrap bubbles on the outside (extreme
     heat can cause them to soften/melt and adhere to           •	   Necessary equipment and materials requirements
     your work)
                                                                •	   Locate your closest hardware store in case of last
•	   Roll works with the back on the inside and the front            minute equipment or materials purchase
     ‘face’ on the outside, and use a tube as rigid and as
                                                                •	   Temporary storage requirements; for packaging
     wide in diameter as possible
                                                                     materials (for re-use), artworks and merchandise.
•	   Use acid free tissue or Glycene paper between bare
                                                                Venue Access
     (unframed) works on paper (including photographs)
                                                                •	   Re-confirm	your	dates	with	your	venue	closer	to	the	
•	   Cushion vulnerable surfaces and fragile structures              event but well before installation
     with	cardboard,	core-flute	and/	or	foam-core	etc.	
                                                                •	   Re-confirm	access	points	for	getting	your	work	into	
•	   Use only moderate pressure when packing and taping              and out of the venue, including loading zones
     (not	too	floppy	of	course,	but	a	tiny	bit	of	give	can	
                                                                •	   Arrange appropriate and safe transport of your work
     prevent breakages and/or squished surfaces)
                                                                     (especially for large-scale, extra hands etc.) to and
                                                                     from the venue.                                                                                                       57
Adelaide Fringe 2012

Make sure you have allowed for adequate time to deal             For single-hung works
with unexpected delays that may arise when installing.           •	       determine the horizontal centre** line of the work
Remember that taking the time to install your work                        you’re installing
properly without cutting corners, potentially saves you time
                                                                 •	       align that line with the centre of vision line
as you will not have to return to take care of art that has
come undone, stuck or fallen over.                               For multiple-hung works
                                                                 •	       assess the overall vertical length of the multiple-hung
Before you begin, make sure you have the necessary                        works as a group or body (far top to far bottom) and
tools	and	materials	you	will	need	for	the	job.	Allow	yourself	            determine the centre** line of the group/body
plenty of installation time, especially if you prefer the
                                                                 •	       align that point with the centre of vision line.
trial-by-elimination process to work out exactly what will
included in the show and how it will be displayed.

Ok, you’ve got the work to the venue, now prior to                ** If you determine the top 1/3 line (instead of a
securing anything to any surface, lay the works out,              centre line) and align it with the centre of vision
imagining how your audience is going to enter the space,          line, you can create a slightly more intimate viewing
move through and take in your work.                               and interacting experience.

Now,	this	may	sound	really	basic,	but	just	in	case	you	
haven’t done this before, here’s an easy process. Prop 2D
works	up	against	the	walls	(and	floors	if	multiple	hangings)	         SUGGESTED MATERIALS CHECKLIST FOR INSTALL-
                                                                      ING AND DISMANTLING:
and place 3D works, plinths and display cases around
                                                                      ‰ ladders,	trolleys	(flat	bed	or	sack	truck	etc.)	
the space. This gives you the chance to have an overall
visualisation for the most coherent arrangement, and lets             ‰     hammer, screwdrivers, and knife
you	shuffle	the	works	around	easily	until	they	are	arranged	          ‰     appropriate drill and variety of drill bits
to your satisfaction, thereby saving time and minimising
damage to the venue.                                                  ‰     tape measure and non-permanent marker

                                                                      ‰     fixings:	wall	plugs	and	screws,	masonry	nails,	
Placement & Materials
                                                                            gyprock anchors, metal screws etc.
This section refers mostly to 2D installations, and it’s
really about personal preference. A common (same) top                 ‰     hanging	materials:	fishing	line	(100lb	gauge	for	
                                                                            heavy stuff), hanging wire or cord
or bottom line can work in some cases; however, whether
you’re looking for an overall balance, or you’re interested           ‰     sticky stuff: Gaffer tape, Blutac, Velcro dots,
in a more subversive installation, establishing an average                  double-sided tape
centre of vision will be really useful.
                                                                      ‰     window cleaner, cloth and scraper
A generally effective and fool-proof method is to:                    ‰     lighting:	portable	floodlights,	halogen	lights,	hired	
Determine an average eye-level, make that level the                         lighting
centre of vision for the whole space, create a centre of
                                                                      ‰     extension cords, power boards
vision line (imaginary or actual but impermanent) around
the walls/space.                                                      ‰     vacuum cleaner and refuse removal plan

                                                                                      ARTIST HANDBOOK
                                                                                      Adelaide Fringe 2012

It’s always good to have an idea about your Opening              Invitation / Flier
Event	floating	in	the	back	of	your	mind	as	early	as	             •	     Include in the design all opening event details as well
possible. Before starting to plan what you want to do it’s              as the event details, including:
important to consider:                                           •	     opening event date and times
What	is	your	main	goal	in	presenting	this	event?	
                                                                 •	     event duration dates and viewing hours
Who	do	you	want	to	reach	/	who	is	your	target	audience?
                                                                 •	     venue name and address
Use the answers to determine key invitees to the opening
(word of mouth is often the best form of publicity), and how     •	     reproductions and copyright details (image credits)
and where you want to publicise/promote your work for
                                                                 •	     sponsor logos and acknowledgments
example, which media avenues you want to tap into.
                                                                 •	     directions	on	how	to	get	there	if	venue	is	hard	to	find
Be sure to consider:
•	   venue access; especially if you need out of hours           If you can, double the quantity of the print-run of your
                                                                 invite list, and after distributing your list, make sure you
•	   catering; food, beverages, staff/labour costs
                                                                 always have a few on hand to give out. Better still, you
•	   speeches; artist and/or guest speaker; optional             can	make	your	invitation	double	up	as	a	flier,	to	keep	
     but short and sharp can be a bit of fun and really          distributing throughout your event duration. If you have
                                                                 the cash but don’t have the time, consider having your
•	   special	features;	music	(live	or	“canned”),	live	           invites/flyer	distributed	by	a	distribution	company.	Adelaide	
     performance, special screening                              has several experienced companies, if you need any
                                                                 information on these, contact Eugene Suleau, Artist
•	   sales (artwork, catalogues, merchandise) – who’s
     handing this, arrange payment methods, adequate             Services Coordinator on +61 8 8100 2055 or
     cash	float,	receipt	book,	and	be	able	to	articulate	the
     purchasing conditions

•	   price list, or list of artworks, detailing Title, Artist,
     Date, Medium, Dimensions, Photographer credit, and               Consider throwing a media launch/preview; this
     price if required - make sure you have a system to               could even be an hour before your Opening,
     assist visitors match the artwork details to the correct         and simply allows the media and arts industry
     artwork.                                                         representatives to view your work and chat to you
                                                                      without the hustle and bustle of all your adoring
                                                                      fans. Make sure you have a handful of Media Kits
                                                                      handy incase you are asked for one on the night.

                                                                                      stARTing Point exhibition
                                                                                      Photo: Giovanni Lorusso                                                                                                       59
Adelaide Fringe 2012

 Every punter loves a peek at ‘behind the scenes’, an avenue into your ideas, a few tools to enhance their
 experience of your work and a little something to take away with them.

As	modest	or	flashy	as	you	like,	publications	to	                A catalogue can include: artist’s statement or introduction,
accompany your exhibition can be valuable records and            invited essays (by selected writers, colleagues or friends),
useful	tools	for	your	practice,	specifically	in	educating	and	   and/or relevant texts (poems, lyrics, and quotes), event
informing your audience.                                         details and images of the artwork with accompanying
                                                                 image and photographer credit details.
List of works and Price List
A list of works assists exhibition attendees to easily           Websites
identifying the image details, as well as the price of           If you don’t already have a website, type ‘free web hosting’
artworks that are for sale. For prices, use a simple             into a search engine and there should be a range of sites
numbering system which matches up to small number                that offer free web pages. Make sure you check out if
‘stickers’ placed next to the corresponding artwork. Image       there are any terms and conditions before you sign up. If
details should include the following information:                you do have a website it is useful to have your media kit
                                                                 available electronically so the media can download press
       Title of Artwork:
                                                                 releases, bios and images directly. Fringe artists should
       Artist Name:                                              also create an on-line media kit on the Fringe website.
                                                                 Remember, many a good artwork has been sold with the
                                                                 help of the world wide web!
                                                                 If you have a Facebook account, you should set up a
       Dimensions:                                               facebook page for your event and invite all your Facebook
                                                                 contacts to your event... and get them to invite all theirs!
If your artwork is for sale, include the price with this         Likewise, if you have a twitter account you should be
information, making sure you indicate if it is inclusive of      tweeting your event on a regular basis.
                                                                 Fringe Benefits
Simple Catalogue or Handout
                                                                 Fringe	Benefits	is	an	initiative	created	specifically	for	18	
More	a	handout	than	a	catalogue,	this	might	just	be	a	           to 30 year-olds to generate greater awareness of arts and
photocopy of text that is a simple exhibition description        live events in South Australia. It has been created through
or explanation, or a creative writing piece to accompany         a partnership with Arts SA, the Australia Council for the
and enrich the exhibition. It’s great to be able to offer this   Arts, and under the umbrella of the Adelaide Fringe.
as a free memento to visitors to your show, or depending
on its level of production and cost to you, for a gold coin      During the Fringe, Fringe registered visual artists who
donation.                                                        have no admission fee will automatically be given a basic
                                                                 listing	on	the	Fringe	Benefits	website.
Detailed Catalogue
                                                                 To	find	out	more	about	Fringe	Benefits	check	out	
A catalogue is basically a notch (or several!) up from a
                                                        or contact Renee Jones,
more simple catalogue. Depending on its contents and
                                                                 Fringe	Benefits	Co-ordinator	on	+61	8	8100	2061	or	
purpose, it can be an integral component of your event.
With even a very low budget, creativity, experimentation
and ‘something unusual’ can make for some great, unique
catalogues to accompany and record your event.

                                                                                    ARTIST HANDBOOK
                                                                                    Adelaide Fringe 2012

Event Attendant                                                  Equipment
Ensure	that	whoever	is	going	to	be	“sitting”	your	event	         Will you have any machinery, audio visual or special
is familiar with and has a clear understanding of it. They       effects equipment that will be operating and need
need to be able to engage with audiences, offer further          monitoring and maintenance throughout your event? All
information and perhaps even encourage them to make              equipment will need to be safety approved (“tested and
purchases or follow your work post Fringe.                       tagged”).	Make	sure	your	venue	and	event	operator,	are	
                                                                 aware of these and are briefed on their requirements, and
Remember	to	organise	a	cash	float	and	if	possible	a	
                                                                 most importantly, how to operate the equipment – from
procedure for credit sales. You will also need to keep a
                                                                 switching it on, programming it, and switching it off.
receipt book handy.
                                                                 You’ll	find	more	information	about	operating	equipment	on	
                                                                 page 29 of this handbook.

 Documentation of your project can be a very useful for your Fringe experience and a great future resource.
 It is invaluable when putting together touring proposals, funding applications, applications to commercial
 galleries for representation and your portfolio.

Promotional                                                      Critical

Keep copies of current and future press kits, the Adelaide       Gather copies of all your published/printed material, such
Fringe 2012 Guide, grant acquittals, and full sets of            as press clippings, recorded interviews, reviews and
merchandise (e.g. catalogue, postcards etc.) as well as          editorials that cover or mention your event. Save all press
your	invitations,	fliers,	posters	and	anything	else	you	have	    and other listings which include or mention your event.
used.                                                            Copies of these could be made available to purchasers
                                                                 and punters genuinely interested in your work, as this
                                                                 kind of documentation is great for history of collected
Consider documenting your work both prior to installation        artwork and can secure its value. Make sure that all media
and in-situ. Record the opening event and any associated         response	to	your	work	is	documented	and	reflected	in	your	
activities (performances, artist talks, workshops). Select       CV. Include all articles/reviews published about your work,
the	most	suitable	medium	(digital	photos,	DVD,	film/             or references to it.
video etc.) to best represent your work and the event,
and	relative	to	your	needs	and	objectives.	A	good	quality	       Statistical
selection of slides is so important for an artist to have, and   Gather	and	record	attendance	figures,	visitors’	comments	
can be the deciding factor in a successful grant application     and reactions, including at the exhibition opening, media
or exhibition proposal.                                          launch, live performances and/or special screenings.
                                                                 Visitor’s books and surveys are always useful (and often
Selecting a professional photographer with experience in
                                                                 fascinating) - make them easy, attractive and interesting
documenting artwork is extremely important, and if there
                                                                 enough	to	be	picked	up	in	the	first	place,	and	used.		
is one aspect of your professional practice that you spend
money	on,	this	is	it.	It’s	just	not	worth	cutting	corners,	as	
average or poor images of your work can actually work
against you.                                                                                                    61
             Media Partners                                 64
             Other Advertisting Partners                    66
             Accommodation Partner                          66
             Car & Truck Rental                             66
             Print & Design Supplies                        67
             Official	Audio	and	Visual	Provider	  	         67
             Visual Effects and Animation Partner           67

           VENUE HIRE AGREEMENT SAMPLE                      68

           DOOR SALES RECONCILIATION SHEET                  70

           TECHNICAL SUPPLIERS CONTACT LIST                 71

           REGISTRATION PAYMENT FORM                        72

Adelaide Fringe 2012

Nova 919 //                               Network Ten //

                                                            Network	Ten	is	proud	to	be	a	major	partner	with	the	
The Nova network is home to some of Australia’s most
                                                            Adelaide Fringe Festival and operates three unique free-
loved personalities and unique comedic talent. Through
                                                            to-air television channels in the Australian metropolitan
the Nova brand values of genuine, open, self deprecating
                                                            markets of Sydney, Melbourne, Adelaide, Brisbane and
and bloody funny, the Nova network remains focussed
on offering unique and compelling content to Australia’s
                                                            At Network Ten we embody youthfulness which delivers a
Under 40s and has over 257,000 listeners tuning in across
                                                            highly engaged and passionate audience.
the week in Adelaide.
Adelaide’s Nova 919 kicks off the day with Matt, Dan and    Network Ten’s vision is the #1 Australian entertainment
Maz in Breakfast, followed by non-stop music with Jarrod    destination for the young and young at heart. Network
Walsh and Shane Lowe across the workday. Join Fitzy         Ten is home to event television such as Masterchef which
& Wippa for the drive home from 4 – 7pm then from 7pm       turns events into experiences, subsequently changing
tune into the National Nights Show with Christo & Katie     consumer behaviour.
featuring the hottest music across the country.
                                                            •	   TEN offers a distinctive programming line-up which
Live Life Nova.                                                  makes it the network of choice for viewers young and
                                                                 young at heart;
Contact Brett Crafter, Senior Direct Client Executive //                                    •	   ONE is Australia’s distinctly male premium sports &
08 8419 5818                                                     general entertainment digital channel

                                                            •	   ELEVEN is the unrivalled destination for fun and bold
                                                                 programming with particular appeal to the ‘distinctly
                                                                 youthful’ market.

                                                            Network Ten can offer tailored cost effective television
                                                            advertising solutions for Fringe artists as well as
                                                            production services to help drive awareness and ticket
                                                            sales for your performance.

                                                            Cameron Mudge -
                                                            08 8225 1400

                                                                               ARTIST HANDBOOK
                                                                               Adelaide Fringe 2012

Advertiser Newspapers – Fringe Media Partner                RIP IT UP PUBLISHING - Fringe Media Partner

The Advertiser is printed from Monday to Saturday and
the Sunday Mail is printed on Sunday and is amongst the
highest reaching media in South Australia. Within The
Advertiser are four suitable areas to advertise Adelaide
Fringes shows and venues; a daily section called Adelaide
Confidential,	featuring	quirky	news	stories	and	photos,	
                                                            Rip It Up Magazine
the Hit. liftout every Thursday, the saweekend magazine
                                                            Rip It Up is Adelaide’s only weekly free music,
every Saturday and the Sunday liftout in the Sunday Mail.
                                                            entertainment and lifestyle street magazine. Incorporated
Among other things, these sections cover entertainment
                                                            in Rip It Up is Onion, your weekly guide to club and hip
and the arts including theatre, music, dance, visual arts
                                                            hop culture. We appeal to Adelaide’s music, food and
and	film	and	video.
                                                            fashion-hungry 18 - 39 year old market. Jam-packed with
Advertiser Newspapers (ANPL) is also the publisher of       funny and intelligent music news, reviews and interviews – the number 1 news site             and	gig/tour	guide;	Rip	It	Up	is	free	to	pick	up,	yet	difficult	
in South Australia. Within this is a special Festivals      to put down. Rip It Up uncovers new bands and artists,
supersite, as well as an Entertainment area. ANPL’s         supports the entertainment scene and keeps our readers
magazine division publishes the Adelaide* magazine every    in the loop about all the best events in town.
month – a glossy, full-colour magazine that allows South
Australians to arm themselves with what’s happening in
and around Adelaide – as well as other magazines, guide
books and custom publications.                              The Fix //
                                                            The Fix is a speciality publication produced by Rip It
For more information, please contact:
                                                            Up Publishing for Adelaide’s festival season. The Fix is
Stephen Arnold -                 festival FOR festival goers BY Festival goers. It is the
08 8206 2448                                                essential guide for punters giving them a mix of daily
                                                            news, features & reviews, as well as a festival guide.
                                                            The Adelaide Fix succeeds because the magazine is
                                                            delivered straight into the hands of festival-goers, many
                                                            from interstate, as they line up for events, as well as in the
                                                            crowded festival hotspots.

                                                            Simone Day -
                                                            +61 8 7129 1075

                                                            Nerida Foord -|
                                                            +61 8 7129 1043                                                                                                 65
Adelaide Fringe 2012

OTHER ADVERTISING PARTNERS                                       APN Outdoor //
ADSHEL //                                      APN Outdoor is the leading provider of advertising
Adshel is the leading provider of advertising-funded street      billboards, advertising posters, bus advertising, tram
furniture solutions in Australia. With the largest street        advertising, airport, rail and retail out-of-home advertising
furniture coverage in the country, a cutting edge innovation     solutions. APN Outdoor is Australia’s biggest outdoor
portfolio and a robust research program, we offer                billboard	advertising	company	with	offices	in	Sydney,	
unparalleled reach, engagement opportunities and insights        Melbourne, Brisbane, Adelaide and Perth.
to make our clients’ outdoor count.
                                                                 Joe	Cook	-
Jane	Taplin	-                          +61 8 8415 6500
+61 8 8364 6000
                                                                 Atads //
Avant Card //                               Atads offers advertisers the opportunity to stand out from
Avant Cards are free postcards displayed in a variety            the crowd and target their marketing message through one
of interesting and diverse venues. Avant Card has                of the most cost effective advertising mediums available
established a comprehensive reach into the urban                 today – the Atads Digital Screen Network. The Atads
consumer market. Our postcards provide a creative                Network comprises large format digital screens located in
and visually stunning cutting edge media format for              high	profile,	high	volume	venues	spread	across	Adelaide,	
advertisers.                                                     including cafes, sporting clubs and the Rundle Mall
Marah Houlihan -
+61 3 9388 0488                                                  David Floyd -
                                                                 +61 8 8159 6266

ACCOMMODATION PARTNER                                            CAR & TRUCK RENTALS
Crowne Plaza Adelaide //                                         Budget Car and Truck Rental //                           

Contemporary upscale accommodation and al fresco
dining	is	at	your	fingertips	at	the	Crowne	Plaza	Adelaide	
hotel, in the heart of the city. The 15-storey Crowne Plaza      Budget is renowned for meticulously maintained vehicles

Adelaide	stands	tall	in	the	city’s	bustling	East	End.	Enjoy	a	   and quality service. We offer a wide range of cars, 4WDs,

taste of South Australia when dining at Redsalt Restaurant       and	minibuses	as	well	as	Australia’s	largest	fleet	of	trucks	

where our chef’s evolving menu brings together local             and commercial vehicles. For all your rental needs, Budget

ingredients	and	flavours.	You	can	plunge	into	our	indoor	        drives your dollar further.

lap pool, relax in the sauna, spa or steamroom or work           Charmaine Zealand -
out in our Fitness Centre. Discover South Australia and          08 8418 7309
celebrate your stay at Crowne Plaza Adelaide. - 08 8206 8888

                                                                                ARTIST HANDBOOK
                                                                                Adelaide Fringe 2012

If you are looking for a great deal on graphic design,        Need help setting up your venue for a Fringe show?
printing and signage, we recommend you contact Bowden
                                                              Novatech Creative Event Technology //
Group and Visualcom.
Bowden Group //

                                                              One of Australia’s leading and most respected audio
Recognised as one of the leading print companies in
                                                              visual production companies. Driven by a passion and
South Australia. Recently celebrating its 75th year, it's
                                                              commitment to staging exceptional events, they have the
been reinvigorated by the appointment of an innovative
                                                              expertise, technology and resources to produce and stage
CEO,	Jennifer	Baile,	being	the	first	non-family	member	
                                                              truly unique conferences, gala dinners, product launches,
to lead in the business in its history. Jen has taken the
                                                              road shows and concerts that surpass our clients’
enthusiastic management team, including three 4th
generation family members, and has helped to re-invent
the business to incorporate strategic marketing and media     The world-class team, cutting edge technology and in-
into the communication mix... but with the primary focus      depth experience across a wide range of venues provides
on	a	'customer	first'	approach.	                              you	with	confidence	and	peace	of	mind	when	staging	your	
                                                              next event.
Luke Bowden -
+61 8340 3588                                                 Leko Novakovic -
                                                              +61 8 8352 0300

                                                              VISUAL EFFECTS AND ANIMATION PARTNER
Visualcom //
                                                              Resin //

Has been providing award winning digital printing and
signage services for over 10 years. With a broad and          Resin is a boutique visual effects and animation studio
unique product range and extensive experience in the          focused on the production of high end commercials,
world of digital printing and signage solutions there isn’t   animated	content	and	feature	film	visual	effects.	We	have	
much they haven’t done, and there is virtually nothing they   built a reputation on delivering innovation and quality
can’t do.                                                     beyond expectation. The studio proudly supports the
                                                              Adelaide	Fringe	and	you	can	have	complete	confidence	
Michael Gibbons -
                                                              entrusting	Resin	with	your	project.
+61 8 8212 9330
                                                              Lincoln Wogan -
                                                              08 8234 999                                                                                               67
Adelaide Fringe 2012

Please note, this agreement is between the independent artists/producer/company AND the venue.


Disclaimer - This template has been created as a reference tool but is not complete or exhaustive. The information
cannot be regarded as a substitute for legal and other expert professional advice. You should retain your own advisors in
specialist areas.
Accordingly, Adelaide Fringe disclaims all responsibility in relation to the accuracy and/or application of the advice
contained in the following.

This agreement is made on the            /       / 20



Venue Name

Venue Representative







Event title

Company name






Name of performance space booked

Seating Style (cabaret, theatre, standing)

Agreed Capacity

                                                                       ARTIST HANDBOOK
                                                                       Adelaide Fringe 2012


 Day                     Date         Access Time   Rehearsal/ Event Times            R- Rehearsal

                                                    Start          Finish             E - Event

 Item                           Details                                      Artist      Venue    Applicable
 Lighting equipment
 Lighting operator
 Sound equipment
 Sound operator
 Other equipment (chairs
 tables etc.)
 Room set up prior to
 Room pack down
 Door	sales/Box	office
 House Tickets                                                                                      69
Adelaide Fringe 2012







 TICKET PRICE                 QTY                  TOTAL   TOTAL	$	VALUE	(ticket	
 CATEGORY                                          QTY     price x total qty)


 Price 3

 Price 4



 $100.00        $
 $50.00         $
 $20.00         $
 $10.00         $
 $5.00          $
 $2.00          $
 $1.00          $
 Silver         $
 TOTAL          $
 Less	float     $
 Door           $	

Balance should equal total value of tickets sold
                                                                   ARTIST HANDBOOK
                                                                   Adelaide Fringe 2012

Audio/Visual Production                            Visual Effects & Animation
08 8352 0300                                       08 8132 4999
Leko Novakovic -   Lincoln Wogan -           

INTERNODE                                          BUDGET CAR AND TRUCK RENTAL
Internet provider
                                                   08 8418 7309
08 8228 2999                                       Charmaine Zealand -
Steve Cathie -
BOILEAU BUSINESS SOLUTIONS                         Digital Printing and Signage
Business Solutions                                 08 8212 9330
08 8354 6720                                       Michael Gibbons -
Angelique Boileau -
                                                   BOWDEN GROUP
                                                   Printing Services
                                                   08 8340 3588
                                                   Luke Bowden -

0400 433 599                                       08 8340 3776
Craig Williams -                         

PRODUCTION SOLUTIONS                               SA STAGING
0411 193 162                                       08 8271 7731
Ant Williams -           

OSMOND ELECTRICS                                   LUSH LIGHTING
08 8371 1884                                       08 8363 5874              
                                                   ATLAS EVENT & PARTY HIRE
08 8223 4422
                                                   08 8297 2366
          Adelaide Fringe 2012

                                                         REGISTRATION FEE PAYMENT FORM

                   Please complete the details of each event you are registering and enclose form with your payment.

          Payment can be made by credit card, money order, EFTPOS, cash or cheque. Payment can be paid in person, by fax
          or	posted	to	the	Fringe	office	(do	not	post	cash).	Details	are	at	the	bottom	of	form.	Cheques	should	be	made	payable	to	
          “Adelaide	Fringe	Inc.”	Adelaide	Fringe	registration	fees	are	GST	free.

                                           PERFORMING ARTS (P.A.)                                     $395
                                           ART & DESIGN (A&D)                                         $330

                                           3 SESSIONS OR LESS*                                        $210

          *If you plan on presenting up to three sessions only, or exhibiting for up to three days, you will qualify for the
          discounted rate. Applies on a per event basis.

            Please provide details of event name, event type & fees due. (Please print, complete and return by post or fax):

            Contact Person:

            Street Address:

            Suburb:                                                        Post Code:

            Phone:                                                         Date:


            Payment Type: (please circle one): Cheque / Money Order / Credit Card / Cash

            Card Type: (please circle one): Visa / MasterCard / Amex

            Card Number:                                                                        Expiry Date:      /

      Presenter Name                 Production Company                                   Event Name                    P.A. or A&D           Fee

All production companies receive one complimentary Artist Bag. You are able to purchase additional bags at                 Sub-Total
a	cost	of	$3.30	(inc.	GST)	per	bag.	Please	indicate	in	this	box	the	number	you	require,	then	the	total	cost	of	         					@	$3.30	ea
the bags in the box next to it.
                                                                                                                           Total Due      $
Complete and return with your payment to:
PO Box 3242,                                                OFFICE USE ONLY
Rundle Mall, Adelaide SA, 5000
105 Hindley Street, Adelaide SA, 5000                       FERS Updated                              Date:                  Initial:
T: +61 8 8100 2000 F: +61 8 8100 2020                       Balance received                          Date:                  Initial:
Email:                        Receipt Sent                              Date:                  Initial:

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