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Follow greed cat never get lost to the theatre
My named sandy people from the adelainge ge manager of the mountain place
Called honey ypots
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So um could you please introduce about the fringe
Aalaide fringe
And also we work at honepot to let our audience know better about the event and your job
Yeah
Um i'm here in shakkwho uh resenenting yet by fringe
Which is australialiis biggest out fefestival is an open access festival
That's like the amper fringe festival in august um with the largest uh fringe southern hemisphere
And we've been we we established sixty four years ago
And as a multioxform festival
Anyone with a show or desires perent ent work can do adethide we take place during february
March every year during the summer in australia
And i am the marketplace manager for honeypart
Which is an international arts marketplace
So anyone with a show registewith that late fringe can also opt into the marketplace
And we help connect them to industry presences from around the world to help them secure arwood bookings and programming
Yeah
So as far as i know it is the second and largest one fringe and the world
And the
It is the the biggest one in the south
And as connees right
So can
How could our audience or join the party in the an february and march is still any such as the recommendation that you give share with our audience
Yeah
I gueguess you could think about it in two ways
If you are a audience member that wants to come to south australia
To to to experience our festivals
We are a
We are very scenic festival driven city
We are close to beaches es great food and wine a
And there's many other festivals
Which happen alongside hours as well
So there we have a music festivals and made jare ts festival
So we are trying to draw tourist numbers
And
And we have a large migration of different cultures in adedeide as well um
There is a large asian population in in in australia
And in also in adelaide
So in terms of um
What we are looking to do
In terms of diversifying the program is we feel that our audiences in adelaide de would respond well to new works more around the world
So we we encourage registrations from presences and performers from all over the world
Uh our team can help find a venue um
And really help market the show um
And it's its great opportunity to come act with many people from australia as well as industry that tape or in our festival
Yeah
Yeah
So talking about the connection
Build a connection between not only the audience in the artist
But also among the those tists sts you have
What you have done in the marketplace
Seems like a great job to help the artist producers
And those want envolve in a frge ge to get together
So can you show some stories behind about the honeypart
That the honetplace the first ly is called honey popart
Because back in two thousand and eight
Someone wanted to establish a market and adelaide inge was a fun festival
And they weren't too sure
What they would should call the market
So they thought honeypot
It's
Because it's a
It's a place with uh
You know lots of potential
And you know a honeypois is a
Is a kind of a lucky place
So it's sixteen years old
And we
We work really actively with the artists and companies and the industry delegates to match makened and to help facilitate connections
So we
We're a slightly smaller marketplace
Than say edinburgh is
Which just allows us to really help artists and companies um with one on one sort of meetings and information that we pass across
So for us the the joy in the challenges also to be able to help sustain anarys's career by hopefully githem opportunities through the marketplace
Yeah
I saw some pictures uh in the hononyypart brucial that the'll be a table
The artist will sit here i sit on the one side of the table
And the producer will come this aufdience produproduces
They will come and go to talk with each of them
So it's really funny
It's like
It's like speed dating
Yeah Yeah
You have a short amount of time
And you move around room
And you sit down with a presenter
And you tell them about yourself in the show and the work that you do
And you exchange cards
And you can show trailers
And you know off the back of those conversations and meetings
A dedelegate might go to your show
Or they
They might um
They might be interested in catching up with you after the festival
And it's
It's about
So if that creating a connection and establishing a relationship from the beginning
And i guess with honey parwe we're fortunate to have so many delegates come to adelade de they're looking for work
But the bonus for them
As they can see it with an audience
So they can immediately understand what the work is
Whether it is
Whether it's suitable for them
And then
And then we create programs
Where they can meet together
So um it's kind of it's accelerates the consations uand hopepelly ah drives those connections
Opromming opportunities
A little bit quicker idea
A lot of group perfrom asia in general in china
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And we're seeing us
We're seeing us an increase each year we
We always go to um edember festival and fringe um
And we've establish relationships with um arious showcase countries
So we recently presents at our first carean season back in two thousand and twenty two
But taiwan season comes to us twenty to twenty four um we're looking forward to welcoming back chinese presenters so in next year's festival
And establishing a patteral growth again um we work with canadian um
Aadian councils to bring work over from um
From the countries
We've had a big migration of indian um artists since the pandemic
And we'now got indian focused uh showcase at work
So yeah
Does it's definitely something that we see a potential for growth in the festival
Okay
It sounds great
Yeah Yeah
Actually it also have some very practical um
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Questions like because for example canada from canada to uauaustralia's very long journey
And how like people manage
Like you know where they live
And how they find the defend
The money to supporort them to go
There like answer
It's a
It's a big financial challenge
And you recognize that
And you know they tend to look for support from their arts councils or their funding bodies
We can help us a team to write letters of support for the work um thealso also other festivals on opportunities outside of adelaide
That they can take part in
So it's
It's
It's not the case of coming to adelaide present work for a week or two weeks
We would encourage artists to look at potentially extending the tall life of a work
So again
That's what we can do through honeypart is um establish potential relationships with venues or presences
That could then extend the work ks shelf life across
Across a few dates
Then we also have new zealand festivals as well
So there is that potential if you are and artists or accompany to come to australia
That you would want to think about potentially extending the the toring circle of other work
Yeah
And you know that
That could take a year or two to establish those relationships before you're ready to come to australia
I think the best thing that we always tend to advise artists and companies if you have the chance come to our festivals
See how it works we can introduce you to producers and venues and yeah
So i think you know in terms of of the loisistics and the financial sks of it's
It is real yeah
But that are ways for us to help yeah
I think you for our refrrenge like you like artist uh like in front of all those risks too that it's a really good opportunities to like to get to opporttiyeah
It
It is not only for the australian market and the frge ge is open up to the international opportunity for the autist yeah
And our australia market because of its proximity sector to the asia pacific reasons
A lot of the delegates that come from the northern hemisphere
From the uk
Europe
South america
North america
They
They like that ability to comnect with asia pacific industry and artists as well
They can see work in adelaide de they wouldn't necessarily see in
In edinburgh
Gh So um
There is a little bit of um
A connection in terms of the interest that industry have for the asian pacific works as well
Yeah
So so when we kk about frfringe is to me me more like a big party
Yeah
Everyone get together and have fun together
And ii saw that the from your presentation which for me
It's really amazing ation is that the amount of the show
It's really aa lot
Yeah
So so how could you connect uh collect those shows
And how could you find which one is dopked ok one for the frininuge
It's a lot of work
And we tend to uh see ah that third of the program registered with honeypart
So ah that could be four hundred or five hundred shows
But we create a plan
Forming a resource that helps people make their own research and investigation possible
Which we released the list of industry early and the list of shows and the resources online and allot of um links and details that allow people to research
And the information we presents them is all about empowering the artists to do the research first
But also you know we are looking over those shows uh on a daily basis and the industry that register they provided with detailed information about who they are
And what are looking for as well as the artist detailing about who they are
What they're looking to achieve with the shows
So by understanding where both the industry and artists are coming from
We tend to try and drive and match those industry and artists together
In some way as well as it is as the in person events
That we also generate opportunities for people to come and talk to each other
So we don't necessarily go to each of the five hundred shows and help them individually
But there is a lot of um
There is a lot of personal connections that we do make with it with with with with a lot of the shows
I saw there is opportunity that we can buila bridge and between the chinese artist and those young artist
Most of them so to to find a way to how to regto to
To inese finge to see
Whether they have a chance to go to the international market
To to ether the industry
Yeah
Um insights to look at the chinese artist power
The young power
Yeah
So so and so i have a question
Is that is any suggestion that you can sure with the um
Because autist dive into the industriry decision industry
Because as as far as i know you have a lot of experience to talk with the artists
So how can you help them to grow in the future
Yeah
I mean ii guess honeypot
Really it helps artists from who are emerging to artists that have an established creative practice
And it's as as about about professional development
I think you know it something like adelaide and honei part is a really great way to meet hundreds
Other artists and creatives are also presenting work
And also have um experience and asasperrations growing in industry
So there's a lot of resort sharing
But not just our festival market can do
But also it's a collective community of of creative minds
So not think something like a fringe can be really useful in terms of under standing how the industry works making connections
It's an industry
Because sometimes can be confilled quite
Quite restrictive or those barriers or those generations of people that are the gatekeepers and information
Um we try to a sort of breakdown
That that that motion of that being a barrier
So i think something like a fringe can be really interesting
If you're just starting to present work
You can really find your own sort of voice and craft
And understand what your practices
When you're collectively brought together with bit light minded artists
The
The topic we are going to discuss in sdf is about the size of acspecific or the new space
Or sometimes we cled the environmental thetheter
I also and fine let the adelaide fringe got a lot of experience in those ways
Yeah
So can you share some some experience of about those on practical shows in adelade
Ah yeah
I guess side specific in fringe festivals can be quite relevant in terms of it like a traditional festival
Be would take part in venues and breaks a mortor
Where as is fringe festivals and somewhere like adelaide
It is a small cities
So we do find that there are a lot of venues and operators that operate outside of the normal specific sites
That you would normally present working
So for as it's about engaging inteintesting spaces
Like talking to producces that have interactive immersive works
That would really um
That would really work well in our festival
We have um it's a beautiful weweather aaaiide
So those there's the ability to take um interethat outus of the normal brings a morttive venues
So yeah
It's site specific work
It's
It's inteintesting um for us
And i think you know there's an didience really really look the inteintesting in the new uah ah in something like aully frge ch stf is also um a festivful that really focus on the young artist
We have a like two week sworkkshop yeand first of we
We invite those arartists appappwith with their ks ks
Then
Then we as we
We iningether about thirty things
And we will have a two two weeks workshop with them to help those um an artist come to circle live here and talk with each other
And maybe we have some some workshop or causes classes to help them to and know more about the culture here so um how could we know better about odelet
If we wish that we can develop a works for odelet is there any an and notice what tips we can share with the artist to know adelaide better i mean an gueguess if other than coming to adelaide
When we have the festival on i think the other way in which she could really understand a little bit more about the landscape or opportunities aaalaito talk with our team we have a
If we have a year around artists and venues team we produce a monthly sessions about presenting work in adedeiiuh
Which all online uas a resource throughout festival website
We produce documentation that charts the development of taking work or developing work for adelaide
Yeah
I mean
I think it's is challenging
I think to
To really get someone ready for a major festival with our actually experiencing beforehand
But does that's raising in preparing yourself
I think if you are
If you really interested and find it is a
It's big advantage that i fridge got a really furful online resource database that i can find a lot
So i think this one is that we can learn from line from you that yeah
So is there any suggestion that you give to a baby festival just like stf we are only the second year
And what you think it's the key point that help the festival grow better in future
Um
I think it's the people that you work with
I think
I think
I think any festival has a dedicated passionate team that really understands and embraces autistic culture al and tice and see the see their capability and and possibility of growth in a festival
It will drive it forward
I think having that drive and passion that your team brings is infectious in our
And i think that um that's a great way of starting
I'm retaining those people in each year
So they have
Have ununderstanding of wealth festival can stwth um so yeah
Maybe it's just
It's just having
Having that drive and passion and the staff in the
And the ausis there's a big team in a aalade idge right such as you
You have more than one hundred
No i mean wewe're fairly small tety at the call
We there's thirty five of us
But then we do get busieer as the year progresses
So we bring in box office teams and production staff um
But there only very short contracts they might be two three months
And then we do
We do
We do reduce back down to a core group of thirty five we have
We have planning days so we come together as an organization and spend three days together in a
In a room over a venue
And
And talks through the previous years festival
And And we
We want a grow
We have a very proactive festival director who lobby is very hard for extra funding in government and recognition in in in ininting tv media um lobbying for tourism money to really make it a destination festival
And bringing audiences um
And also a festival directthat the lobbis hard to put the money back in the artist pocket
So reducing the fees to present work aaaiiiwhich a festival somesometimes a large porporal so so in terms of yeah china reduce the financial risk of taking work to aa major festival
It's a major team comes in yeah
Yeah
It's great
Also have a question about uh if you can uh
Why uh uh for example chinese audience need to fly to australia
To watch like it the whole french of festiwall hadn't poled
Why i do
You think if you need to give them
对对对
Strong reason
Reason
Like well i mean
I think you have to have your own reasons for coming to australia
Ah if you potentially want it to explore taking work further out into australia
Than something i aalaifringe would give you fingood exexposions to other induriry venues
That you could make connections with
But 嗯 Yeah
I think like any any sort of um export toring model
You've got to really understand why you're to take
Take work work side side your
Your country um
Whether that's to develop new audiences or collaborate with new artists in other countries
It really depends on the ration
How of the
Of the objective
Really i would say so i would put the question back answer the artists
Why do you wanto come to australia
And how can we help you achieve that okay
Yeah Yeah
Yeah
I thought about that
That am like chinese audience
Not
Not just like artists
Like ii don't know if in h during a festival
There were a lot of international audience
Ces here uh yet the participant who just want to have fun in udeat land the festival or a lot
Yeah yeah
Audience members
Yes
The guess
Yeah
We have fairly audiences in aaaiibut that there can be
There can be those problems with new works
That are try to find an audience as well
So it's if at presencworking in a venue
That's not established or is new
Then there's a challenge of finding new audiences
But a lot a lot of our venues do come with
And audience that comes each year
Um They
They save their money
And come out to the
To the fringe
You know
I think our report from this yeest festival said uah the average customer bought up to five tickets
During the average clast will buy five tickets over the month
Um
So you know that's how we sold a million tickets
Because they're buying three or four shows
Ah and and and they're bringing their family and their friends
So it's more of a destination
So our experience ces well for our audiences okay
So because we have to go to the next show
So our forecast is going to the end
Yeah
So one more last question
So Oh
Um is it your first time to come to china
And is there any impression and shengjeng on china you can share with our audience
Um i came to shangkind went thousand nine
Ninenineteen
Ccrystal
Then invites a mittigan handy
And also been to macao city fringe and hongkone
This is my first high
I'm in shakw in and shanzzad have it's great to be back
Like it's been
It's been aa few years
And yeah
I love this sort of energy and the vibraccy of these cities
It's always nice
Nice
See see uah the autistic like practice and energy for performance here as well so yei'i've ve been
Ve been been resrested
I've been here
Thewas a great show last night and made in beauy
Yeah Yeah
Fantastic yeah
What was us schered today
And the they are too sure or no
Yeah
I can't remember the name of the shirt
Oh
I think it right now
The other show
The other two show is laily
Fantastic
Yeah Yeah
So hope you have a wonderful tonight and afternoon
Thank you
Thank you for it's alver
Thank you that it's alice
The
The
嗯 The
啊
馋猫看戏
谢谢
