The outdoor sector is an intrinsically international market, and most outdoor artists rely on international touring for their survival. In the aftermath of the Brexit Referendum, there are growing concerns about the economic uncertainty and its potential impact on touring and EU funding opportunities for artists.
It is clear that UK artists want to continue touring in Europe, just as UK festivals and promoters want to continue to invite artists from Europe to work in the UK.In this context, the priority is to maintain opportunities for artists to work abroad and develop relationships with potential bookers.This document aims to provide some clarity on how a company or a festival can appropriately prepare to work internationally post-Brexit by collating helpful information on the topic. This guide covers a wide range of topics, including movement of people, goods and vehicles, always maintaining a focus on the financial implications of selling shows to a festival based in the EU, and vice versa.
Each time we draw on examples given by the interviewed companies, examining how Brexit will impact them depending on the scale of their productions, their touring party, their cast members’ nationalities, and more. Interviews with the companies were conducted in September 2020, whilst the Brexit terms were still being negotiated, therefore some of the information on the impact and changes to their working practices post-Brexit were unknown. Post-Brexit, the guide has been updated to contain the most up to date guidance as the final Brexit terms have been established.
Throughout the document, we outline the key changes to the future EU touring landscape and practices, providing clarity on new systems and processes around visas, carnets, insurances and so forth. Employing a number of case studies as a way to make the information more relatable and digestible, we offer insight into how companies of varying scales are preparing for this additional workload. This ongoing sharing of information and approaches across the sector is crucial as we adapt to these new ways.
It is likely that the current conventions involved in touring to the EU will change, so a section of this document is also dedicated to any creative solutions the companies have been considering to ease their transition, and we look forward to exploring this topic further as we approach the new touring season. As we navigate these changes, and regardless of how EU touring might change, open communication between companies and programmers/festivals is crucial.
We hope you will find this guide helpful and that it will become part of your toolbox to navigate EU touring over the next few months, and look forward to continuing the conversation with artists, promoters and organisations.
Kevin Wratten and Axel Satgé, co-directors Split Second
Andrew Kim, Co-Director at Thingumajig
Casper de Vries, Founder at Entr’act (NL)
Dom Kippin, Inside Out Dorset and Sense of Unity Producer at Activate Performing Arts
Louise Richards and Amy Belfield, Executive Director and Programme Manager at Motionhouse
Olivia Quayle and Jan Patzke, Artistic Directors at Joli Vyann
Paco Bialek, Promotion and Tour Manager at Adhok (FR)
Sho Shibata, Executive Producer at Stopgap Dance Company