The document discusses challenges American conductor Sarah Caldwell faced early in her career, including reportedly banning musicians from her rehearsals and making unreasonable demands. It then provides advice for artists, including being on time, prepared, pleasant to others, and delivering on promises, in order to build a successful career through positive experiences and relationships.

1. Dr.
Michael
Remson,
American
Festival
for
the
Arts

2.  In
October
of
1992
"when
Miss
Battle
opened
the
BSO
season,
she
reportedly
banned
an
assistant
conductor
and
other
musicians
from
her
rehearsals,
changed
hotels
several
times,
and
left
behind
what
a
report
called
'a
froth
of
ill
will.’”

In
February
1994,
during
rehearsals
for
an
upcoming
production,
Battle
was
said
to
have
subjected
her
fellow
performers
to
"withering
criticism"
and
made
"almost
paranoid
demands
that
they
not
look
at
her."[

3.  Be
on
time
 Be
prepared
 Be
pleasant
to
others
 Be
grateful
for
opportunities
 Deliver
on
your
promises
 Be
as
good
a
business
person
as
you
are
an
artist
 Remember…
ultimately,
people
will
not
work
with
someone
who
isn’t
the
above…
no
matter
how
good/
talented/famous
they
are…
 Patiently
build
your
resume
with
the
experiences
that
will
make
people
want
to
work
with
you

4.  Who
You
Work
With
 Performances
&
Exhibitions
 Competitions
and
Awards
 Residency
Programs
 Grants
 Commissions

5.  Obviously,
every
time
you
have
an
opportunity
to
work
with
someone
celebrated
in
your
field,
you
should
take
it.
 Master
classes,
seminars,
classes,
etc.,
all
add
to
your
resume
and
show
others
where
your
interests
lie
(and
your
potential
influences).
 Also
publicize
any
work
you’ve
been
able
to
do
with
established
artists,
organizations,
companies,
galleries,
etc.
—
each
one
will
help
others
get
to
know
you.
 Keep
records,
photographs,
flyers,
recordings,
any
physical
documentation
of
the
events
 Publicize
them
on
your
resume
and
any
other
promotional
materials
—
each
one
lets
people
know
you’re
serious,
you’re
professional
and
that
you
are
good
to
work
with
(it
gives
people
a
reason
to
ask
about
you).

6.  Hopefully,
this
process
is
already
underway
–
performances
as
part
of
being
in
school
are
valuable
ways
to
build
your
resume.
 In
school,
seek
out
ensemble
directors
(in
and
out
of
your
dept,
don’t
forget
about
ensembles
for
non-­‐majors)
as
well
as
your
fellow
students;
make
friends
with
those
you
would
like
to
work
with.
 Talk
to
teachers
about
conferences
and
competitions
that
may
provide
performances
outside
of
school
environs.
 After
school,
keep
up
your
network,
see
if
friends
are
still
interested
in
performing
or
showing
your
work
–
think
of
non-­‐
conventional
or
alternate
options.
 Every
performance
or
show
will
impress
others.
Second
performances
and
exhibitions
of
the
same
work
mean
even
more.

7.  Every
artistic
discipline
has
a
variety
of
competitions
that
you
can
enter.
 These
are
best
found
through
the
service
organizations
that
exist
by
discipline
(for
composers,
includes
ASCAP,
American
Music
Center,
federal,
state
and
city
arts
agencies)
 Also
note
that
many
performing
arts
organizations
have
competitions
for
people
to
work
with
them
(VOX)
 While
some
have
entry
fees,
be
judicious
and
enter
the
competitions
that
you
feel
have
the
best
chance
of
showing
 Competitions
that
give
you
performances
and
exhibitions
are
most
valuable
(versus
ones
that
provide
money)

8.  Be
realistic
–
enter
ones
that
you
have
shot
at
(you
won’t
win
a
Pulitzer
if
you
are
just
starting
your
career)
 Don’t
“pay
to
play”
—
you
can
spot
a
fake
at
fifty
yards
(and
if
you
do,
do
it
for
the
right
reasons)
 Do
your
research;
look
for
competitions
that,
because
of
restrictions
on
who
can
apply,
might
favor
you
 If
you
are
young
enough
to
enter
“young
artist”
competitions,
enter
as
many
as
you
can
while
you
can
 Are
there
programs
through
your
school
programs
(or
for
alumni)?
Enter
as
many
as
you
can.

9.  Follow
all
instructions
and
reporting
requirements;
be
as
professional
as
possible
with
whomever
provides
the
award
 Find
out
if
there
are
future
opportunities
through
the
same
sources
(additional
competitions,
can
you
re-­‐apply,
etc.)
 If
there
are
performances
or
shows,
be
prepared!
Don’t
make
them
come
after
you
for
what
you
are
supposed
to
provide.
People
talk
(and
they
know
each
other)
 Publicize,
publicize,
publicize!
Your
resume,
your
website,
Facebook,
other
competitions,
invite
as
many
as
possible
to
any
public
events

10.  Two
types
of
residency
programs:
 Short
or
long
term
involvement
with
an
organization
that
involves
studio
space
and
project
work
that
generally
results
in
an
exhibition
or
performance.
You
live
on
your
own
and
are
responsible
for
your
own
living
expenses
 On-­‐site
residencies
(usually
no
more
than
3
months),
where,
in
addition
to
studio
space,
you
are
provided
with
room
and
board
and
a
creative
environment.
Usually,
you
travel
to
these
places.
Some
of
these
are
completely
free,
others
have
daily
or
weekly
fees.
 These
programs
are
excellent
resume
builders
and
demonstrate
that
a
jury
of
peers
feel
that
you
should
be
given
time
and
space
to
do
your
work
(regardless
of
career
level)
 They
are
also
excellent
opportunities
to
get
work
done
and
add
performances
or
exhibitions
to
your
resume
 The
best
resource
for
finding
residencies
is
The
Alliance
of
Artist
Communities
(book
and
website)

11.  Be
honest
about
your
career
level
(remember,
a
jury
reviews
your
application)
 Be
realistic
about
what
you
plan
to
do
while
in
residence
(don’t
over
or
under
estimate)
 Submit
work
examples
that
not
only
show
your
best
creative
output
but
that
are
also
relevant
to
what
you
are
proposing
to
do
 Express
confidence
in
your
ability
to
get
the
job
done
(cite
other
examples
as
appropriate)
 Be
honest
about
the
benefits
of
attending
(including
the
fact
that
it
is
a
resume
builder)

12.  Actually
work…
if
you
are
not
working,
it
will
be
noticed
 If
you
get
artist’s
block,
subtly
let
people
know
that
you
have
it,
people
won’t
talk
that
way
 Get
to
know
the
staff,
they
are
often
a
wealth
of
resources
on
other
programs
and
resume
builders
(and
frequently
refer)
 Network,
network,
network
with
other
artists
(at
the
appropriate
time)
 Publicize
your
involvement
and
stay
in
touch
with
their
alumni
groups
and
newsletters
 Enjoy
the
opportunity
for
uninterrupted
creative
time

13.  Grants
are
money
that
are
given
to
you,
generally
for
the
purposes
of
carrying
out
a
specific
project.
 Some
grants
(MacArthur,
Guggenheim,
Pew,
etc.)
are
given
just
because
you’re
a
good
artist,
but
they
are
much
harder
to
get
and
usually
carry
expectations
of
completing
some
type
of
work
 There
is
no
expectation
that
you
will
repay
the
money
unless
you
fail
to
complete
the
project
 You
will,
however,
be
expected
to
provide
status
reports
on
your
progress
and
some
kind
of
report
as
to
how
the
funds
granted
were
spent
 Remember…
creative
projects
can
be
found
in
a
variety
of
settings,
you
can
write
music,
you
can
write
a
book,
you
can
curate,
there
are
lots
of
options
–
your
creative
AND
your
scholarly
background
can
be
sources
of
grants
(and
help
build
the
resume)

14.  When
you
find
a
grant
that
looks
interesting,
check
eligibility
and
how
they
give
money.
 Some
groups
will
give
money
directly
to
artists
 Others
prefer
that
you
apply
under
the
rubric
of
a
sponsoring
organization
—almost
always
must
be
a
non-­‐
profit
501(c)(3)
 If
you
can,
cultivate
relationships
with
area
arts
organizations
who
might
be
willing
to
apply
on
your
behalf
 Check
factors
like
age,
gender,
ethnicity,
location,
etc.
—
many
grant
programs
have
restrictions
in
these
areas
(which
can
be
a
plus
or
minus)

15.  City
and
state
arts
agencies
(not
only
their
own
programs
but
also
list
opportunities
from
other)
 Houston
Arts
Alliance,
Texas
Commission
on
the
Arts,
Mid-­‐America
Arts
Alliance,
National
Endowment
for
the
Arts,
National
Endowment
for
the
Humanities
 Service
organizations
that
serve
as
clearing
houses
for
available
grants
 American
Music
Center,
Aaron
Copland
Fund
for
New
Music,
College
Music
Society,
Nat’l
Association
of
Composers
USA
(NACUSA),
Opera
America,
ARTS-­‐USA,
Springboard
for
the
Arts,
Warhol
Foundation
 Arts
organizations
in
the
area
you
want
to
work
or
with
whom
you
want
to
work
 Look
for
groups
with
similar
“artistic
values”,
if
you
are
a
performance
artist
a
la
Karen
Finley,
chances
are
the
local
Gilbert
&
Sullivan
Society
is
not
going
to
be
receptive
to
collaboration

16.  Arts
groups
that
have
short
and
long-­‐term
residency
programs
 In
Houston,
look
at
Diverse
Works,
Lawndale
Arts
Center,
Mitchell
Center
for
Interdisciplinary
Arts,
Center
for
Contemporary
Craft
 Local
Foundations
and
Endowments
 While
generally
difficult
to
obtain
as
most
don’t
fund
individuals,
some
may
be
approachable
for
certain
types
of
projects.
 Think
of
ways
you
could
collaborate
with
an
arts
organization
that
could
apply
on
your
behalf
with
you
as
primary
artist
 Professional
membership
organizations
and/or
unions
 Houston
Musicians
Union,
ASCAP,
BMI,
Dramatist’s
Guild,
Author’s
League,
Visual
Artist
Guild
 Web-­‐based
resources
 Simple
web
searches
might
lead
you
to
a
variety
of
programs
and
opportunities

17.  Complete
the
application
fully,
honestly
and
on
time!
 Answer
the
questions
that
are
asked,
don’t
provide
lots
of
ancillary
information
 Follow
the
instructions
(if
they
ask
for
a
one
page
summary,
give
them
one
page,
not
three)
 Be
candid
about
your
career
stage
(remember,
these
are
judged
by
peers)
 Be
realistic
about
your
project
and
goals
 Are
there
grants
that
might
fund
specific
areas
of
your
project
(e.g.,
composing,
scoring,
performance)?
 Give
a
realistic
time
frame

18. With
the
Funder
 Be
sure
you
understand
what
is
expected
(no
shame
in
asking
questions)
 Do
what
is
expected
–
you
will
not
get
a
second
chance
 Be
competent,
collegial
and,
if
needed,
ask
for
help
 Stay
in
your
budget
—
there
is
no
more
money!
 Do
updates
as
they
are
requested
 File
all
final
reports
completely,
accurately
and
with
gratitude
Beyond
that…
 Promote
the
fact
that
you
received
it
(if
allowed),
press
releases,
web
site,
bio,
facebook
 If
there’s
a
performance/exhibition,
make
it
successful
 Invite
other
grant-­‐givers
(even
if
they
don’t
come,
it’s
publicity)
 Document,
document,
document
 Watch
your
taxes
(get
a
good
accountant
if
you
need
one)

19.  Similar
to
grants,
which
come
from
foundations
or
public
funding
entities,
commissions
are
when
a
private
company
or
individual
provide
money
to
fund
a
specific
project
or
performance
 Commissions
are
specifically
designed
to
help
artists
with
living
expenses
(and
as
appropriate,
materials)
to
successfully
complete
the
project
in
a
given
timeframe
 Depending
on
the
size
of
the
commission,
several
individuals
or
groups
may
be
involved
 The
artist
or
artists
receiving
the
commission
are
responsible
for
all
aspects
of
getting
the
project
done.
More
funds
may
be
available
but
only
under
very
specific
circumstances

20.  Commissions
are
difficult
to
get.
 In
general,
you
can
not
directly
apply
for
commissions
 How
do
you
get
them?
 Resume
building.
Win
awards,
go
to
residencies,
win
grants,
etc.
 Publicize
yourself
and
your
accomplishments…
regularly!
 Take
every
opportunity
to
publicize
yourself
that
you
can…
it’s
almost
a
separate
career
to
keep
yourself
in
the
public
eye
so
choose
judiciously
 Cultivate
relationships
with
organizations,
artists,
performers,
etc.,
anyone
who
is
in
a
position
to
commission
you
 Remember
that
anyone
you
meet
could
be
the
next
person
to
commission
you
(or
recommend
you).
 Develop
a
reputation
as
a
professional
and
as
someone
that
people
want
to
work
with

21.  Recognize
that
your
first
commissions
may
be
for
very
little
money
–
every
artist
has
to
decide
what
they
are
and
aren’t
willing
to
do
in
order
to
gain
exposure
 Explore
the
possibility
of
creating
works
for
free
if
there
is
a
guaranteed
show
or
performance
involved
(since
a
performance
or
show
is
worth
something)
and
if
you
can
say
it
was
a
“commission”
 Consider
beginning
a
piece
on
spec
in
the
hopes
of
obtaining
additional
funding
for
it
 Market
yourself
to
your
rolodex
—
make
sure
people
know
you
receive
commissions
and
are
open
to
the
process
(which
in
many
situations
involves
collaborative
processes)
 Price
yourself
accordingly.
Several
organizations
produce
guidelines
for
commissions
from
which
you
can
scale
yourself
accordingly
(see
Meet
the
Composer)
 Ultimately,
it’s
all
about
getting
noticed!

22.  Be
honest
about:
 Who
you
are
and
what
you’ve
done
 What
kind
of
artist
you
are
 What
stage
of
your
career
you
are
in
 Don’t
over-­‐sell
yourself
or
shoot
too
high
 Build
accomplishments
step
by
step
 The
big
things
will
come

23.  Resume
 Advertising
(given
budget)
 Work
your
network
(including
 Appearances
of
local
media
friends,
fellow
artists,
(KUHF,
etc.)
teachers,
colleagues,
etc.)
 Alumni
groups
(school)
 Website
and
other
internet
 Newsletters
(for
organizations
resources
you’ve
been
involved
with)
 Social
media
 Membership
organizations
 Performances
and
exhibitions
 Other
aspects
of
your
career
 Press
releases/articles
in
local
or
job
that
can
promote
your
papers
work

24.  Find
the
resources:
it’s
almost
a
certainty
that
someone
has
done
the
research
for
you
 Start
local:
where
possible,
local
grants,
residencies,
performances,
etc.
will
be
easier
to
obtain
and
will
help
build
the
resume
 Start
small:
Look
for
lesser
known
groups,
agencies,
residencies
where
your
application
is
more
likely
to
be
successful
 Work
your
network:
Your
colleagues
and
friends
are
going
to
be
your
best
source
of
work,
referrals
and
new
contacts
 Know
Your
Limits:
All
of
this
can
become
a
full
time
job,
allocate
your
time
to
the
most
important
and
focus
on
your
art!