Exporting the arts

Existing Arts Exporters
Existing exporters will undoubtedly seek new trends and opportunities to expand their exports. Bender says there are plenty of trade shows and events to promote Australian talent. This includes everything from the APAP [Association of Performing Arts Presenters] conference in New York to the Frankfurt Book Fair, as well as one-off showcases presented in specific countries.

“We also bring buyers into the country. Increasingly that’s our focus because it’s more cost effective than shipping a theatre company out,” says Bender. “We know who we’re targeting so we can engage with them and say ‘come in to Australia and see the work in its context’.”

Australia Council also invests in events such as the biennial Australian Performing Arts Market (APAM) to attract international buyers. Then there is the delegation to showcases such as the Venice Biennale that allow the council to handpick the artists they think will translate well internationally. A variety of other events, festivals and fairs occur throughout the year, in Australia and around the world, for every arts sector so it pays to keep on top of dates relevant to your business via industry associations.

You should also consider being more strategic about your exports, finding where the markets are for your business rather than following trends that might work for other businesses. For example, the hot market for literature right now is in French-speaking and Spanish-speaking markets, reports Bender. “In population you might focus on China, but that connection in terms of getting books published is not as it is through Latin America and a number of French-speaking communities.”

She also advises that exporters look at changes within a country that may make it harder, or easier, to export. The radical conservatism evident in the USA might mean a slower market there, for example, but the recent opening of 400 new performance venues in South Korea indicates an opportunity.

Odgers says not to forget other non-arts opportunities, for example, arts movements that often accompany sporting events. He cites the annual Taipei International Marathon and fun run, accompanied by the ING Street Theatre. Further work may emerge from the corporate sector, such as at gala dinners or conferences.

Advanced Arts Exporters
Exporters with considerable experience may be in a position to create demand or initiate opportunities. Bender says this is possible through the increasing opportunities for collaboration, particularly with investors.

“A lot of the buyers have resources to co-produce or collaborate. They’re not just looking for a ready-made product, they actually want to sit down with you and say ‘your next work is about what? What’s the theme? How are you positioning it?’ And invest in it,” she says. “The idea that they would invest in the work is fantastic because that usually guarantees a fee, guarantees an audience and guarantees an actual outcome.”

Educating a market is also an option. By spotting growth potential in a country and weathering early fluctuations, a business with a long-term view can capitalise on a market when it ripens. This is certainly the case with the fine art market in Asia, says Odgers. “It was thought that most Asian markets, except for Japan, couldn’t cope with the price level. We’re seeing that change,” he observes.

“The galleries play a big part in educating the market. They take on a big responsibility, they’ll go into the market and cover the cost, trail blaze to some degree, and we get them to understand there’s a necessity to stay in the market for several years. That’s really what we have to do; take a longer viewpoint instead of expecting to sell as well as they sell in the United States when they start.”

Matthew Proft, an Austrade export advisor focusing on the music sector, notes technology’s role in how advanced exporters can extend their business. “In the emerging markets like China, you’re not going to see much in the way of CD sales because the pirate market is too strong. We look at growing opportunities for Australian artists to tour and the exportation of both digital rights and synchronisation, like the placement of music in film and TV programs and games, which has become increasingly lucrative.”

Bender agrees. “Copyright is huge, intellectual property is huge, digital rights is massive. CD sales are a joke. You make money now by touring [and merchandise] and that’s a radically different focus than it was even five years ago.”

However, she does see technology expanding the distribution channels for the arts, especially in the mobile phone arena. “The whole mobile thing is fascinating to me. From film, to graphic design to literature to sound, you name it.”