The Palo Alto, California Contra dance has a programming committee with
six or so members.
The two main approaches to booking staff here are
- send out a 'call for dates' to local callers and musicians; if
they're interested in playing they let us know when they're available,
and then
a program is assembled, working in chunks of three months at a time.
- Track out of town people who are coming to the vicinity for dance
camps, etc, and sometimes solicit them for off-cycle (we're usually
Saturday,
but can have a special Monday) dates, or participate in tours or
mini-tours where out of town people play local-ish dancers over a week
or weekend.
There's usually more lead time on this than on the other approach.
I'm the "booking coordinator" for the committee, which means I send out
the call for dates, collate the responses, and make a proposed schedule
out of that. I circulate the draft schedule to the rest of the
committee for responses; they might notice things I haven't. (I don't
always get to our dance because I'm gigging elsewhere or have some
non-dance thing going on, so it's good to have other eyes and ears who
can note when bands or callers have off nights, show improvement, etc.)
Another committee member tracks the out of town people more closely.
Another committee member organizes our American Dance Week and assembles
pre-and-post Dance Week gigs.
To keep from getting all our hands crossed, we communicate on an email
list, and we've recently taken to using Google Calendar to track dates
that have been booked ahead of the regular booking cycle.
This produces a lot of email but everybody on the committee is generally
aware of what's going on. (It doesn't work so well when trying to
figure out goals beyond our defaults of enjoyable evenings and
nurturance of new talent, and I'd actually like a bit more face to face
than we get, but it does work pretty well for divided responsibilities
without a lot of conflict or confusion, and it's less work for me as
booking coordinator than if I were trying to also regularly woo out of
town bands and callers.)
Whether anything like this approach would work for you depends on
personalities - this is Silicon Valley and we're all fairly techy - and
your particularities of booking.
- Alan
On 2/23/2014 9:52 AM, Dana Dwinell-Yardley wrote:
Hi all,
I am training to be the booker for the Montpelier, VT, dance under the
guidance of long-time booker Cindy Taska. We are considering adopting a
team approach to booking -- in case something happens to one person, to
share the load, to share the knowledge, to allow for a balanced booking
perspective, etc.
We're finding it difficult to figure out how to share the job in a way that
doesn't create more work for both people, though. Does anyone else book for
their dance as a team, or do you all have one person doing your booking?
Do you have any other booking tips or "best practices" of booking, things
you do that are essential to making the whole process work well, while I'm
asking?
Thanks for the shared wisdom!
Dana