Business Guide 2016 2017

CONTENTs

2 0 1 6

Business

the th e

2 0 1 7

Guide

1 1 1 T I P S

111 TIPS

2016 | 2017 Business Guide A R T I S TS A N D C R E A T I V E S

CONTENTS What is the Business Guide?

3

Entrepreneurship: how do I get started?

8

Career: what do I want to accomplish?

16

Market: how can I sell my value?

21

Money: where can I get it?

25

Business: how can I organise it?

29

Fiscal and legal: what does this mean for me?

33

Useful sources

40

111 tips

44

Index

51

1

CONTENTs

CONTENTs

WHAT IS THE BUSINESS GUIDE? In this guide for artists, creatives and small cultural organisations, whether starting out or already established, you will find useful information and tips for marking out your future. For you as an individual or if you work with other people. The focus is on the entrepreneurial aspect of your profession: how to ensure you are seen and heard, how to organise your business, how to work towards your future and where to go when you need information and advice. Use it as a work book to identify your own situation and future. You can fill in the models so that once day you can look back at where you used to be. This guide has been created by Cultuur+Ondernemen, a national organisation that supports autonomously working artists, creatives and cultural organisations to get more out of their entrepreneurship. 2

N o t e s

3

Are the subjects in this guide recognisable to you? More information can be found at cultuur-ondernemen.nl. If you would like to know where you stand and/or have someone help you examine what logical steps to follow in your career, or explore how you can fund your plans, get in touch with us for a free orientation interview. Let us know if you miss any subjects! We will include them in the next issue. If you want to be kept up to date with the latest offer and current developments, then follow us on Twitter (@C_en_O), (@C_en_O), Facebook Facebook (facebook.com/ CultuurOndernemen),, LinkedIn (search for Cultuur-Onderne CultuurOndernemen) Cultuur-Ondernemen) men) and share your experiences. Subscribe to our newsletter at cultuur-ondernemen.nl. We keep things brief in this guide. Use the tips to get to the more comprehensive information that is relevant to you. The guide also contains interviews with artists and creatives.

Follow us on social media and share your experiences.

111 TIPS

2016 | 2017 Business Guide A R T I S TS A N D C R E A T I V E S

CONTENTS What is the Business Guide?

3

Entrepreneurship: how do I get started?

8

Career: what do I want to accomplish?

16

Market: how can I sell my value?

21

Money: where can I get it?

25

Business: how can I organise it?

29

Fiscal and legal: what does this mean for me?

33

Useful sources

40

111 tips

44

Index

51

1

CONTENTs

CONTENTs


N o t e s

3

Are the subjects in this guide recognisable to you? More information can be found at cultuur-ondernemen.nl. If you would like to know where you stand and/or have someone help you examine what logical steps to follow in your career, or explore how you can fund your plans, get in touch with us for a free orientation interview. Let us know if you miss any subjects! We will include them in the next issue. If you want to be kept up to date with the latest offer and current developments, then follow us on Twitter (@C_en_O), (@C_en_O), Facebook Facebook (facebook.com/ CultuurOndernemen),, LinkedIn (search for Cultuur-Onderne CultuurOndernemen) Cultuur-Ondernemen) men) and share your experiences. Subscribe to our newsletter at cultuur-ondernemen.nl. We keep things brief in this guide. Use the tips to get to the more comprehensive information that is relevant to you. The guide also contains interviews with artists and creatives.


CONTENTs

CONTENTs


3

Are the subjects in this guide recognisable to you? More information can be found at cultuur-ondernemen.nl. If you would like to know where you stand and/or have someone help you examine what logical steps to follow in your career, or explore how you can fund your plans, get in touch with us for a free orientation interview. Let us know if you miss any subjects! We will include them in the next issue.

N o t e s

If you want to be kept up to date with the latest offer and current developments, then follow us on Twitter (@C_en_O), (@C_en_O), Facebook Facebook (facebook.com/ CultuurOndernemen),, LinkedIn (search for Cultuur-Onderne CultuurOndernemen) Cultuur-Ondernemen) men) and share your experiences. Subscribe to our newsletter at cultuur-ondernemen.nl. We keep things brief in this guide. Use the tips to get to the more comprehensive information that is relevant to you. The guide also contains interviews with artists and creatives.


I N T E R V I E W

C��+O�� . F�� , �� . F�� , �� -��.��/��

“Without Cultuur+Ondernemen it would have been difficult to believe in my museum as a company.” Anna Stolyarova has now been running the Street Art Museum Amsterdam for three years. What started as a hobby, painting graffiti for her friends, has now expanded into her company. She followed a three-month consultancy programme in order to further formalise and professionalise the museum.

BUSINESS PLAN The ‘Ukrainian Netherlander’ founded her museum because she felt that there was too little space for graffiti in Amsterdam. She located a spot in the Nieuw-West district and invited international artists to come and paint their art on the walls. In the second year her museum developed into a residents’ initiative in the neighbourhood. This year she has been granted local authority support for the next step. “I said: if you want to help me, let met study to become more entrepreneurial. As an artist, I had never looked at my museum from that point of view.” 4

� B � � ( MA � �� . � S � � � �� B � �� Y � �� . �� C E � � � � � � � � � S � �� S � � � � � � � � � � � � �� + � � O � � �� P � � B A � � � � � �� M � � � �. � � � � � � � � �� ) ( � � �� ( � � - � �A �� . � � � � .�� .�� ) . � � � � � � � � �� - � .� � � �� ) � � � D � � � � CONTENTs

Her goal was to write a business plan and to do so she embarked on a consultancy programme with us. “Lots of institutes write the plan for you and only want your input. At Cultuur+Ondernemen I had to write it myself, which I found to be much better. For instance, they helped me understand myself better, how to develop my ideas and look at how to make optimum use of my amenities. They asked difficult questions to help me express where I wanted to take the museum. I was given much more than simply advice about my business plan.”

5

Read the full interview on cultuur-ondernemen.nl/zakelijke-gids

“I learned to understand myself better and further develop my ideas.”

CONTENTs

I N T E R V I E W

C��+O�� . F�� , �� . F�� , �� -��.��/��

“Without Cultuur+Ondernemen it would have been difficult to believe in my museum as a company.” Anna Stolyarova has now been running the Street Art Museum Amsterdam for three years. What started as a hobby, painting graffiti for her friends, has now expanded into her company. She followed a three-month consultancy programme in order to further formalise and professionalise the museum.

BUSINESS PLAN The ‘Ukrainian Netherlander’ founded her museum because she felt that there was too little space for graffiti in Amsterdam. She located a spot in the Nieuw-West district and invited international artists to come and paint their art on the walls. In the second year her museum developed into a residents’ initiative in the neighbourhood. This year she has been granted local authority support for the next step. “I said: if you want to help me, let met study to become more entrepreneurial. As an artist, I had never looked at my museum from that point of view.” Her goal was to write a business plan and to do so she embarked on a consultancy programme with us. “Lots of institutes write the plan for you and only want your input. At Cultuur+Ondernemen I had to write it myself, which I found to be much better. For instance, they helped me understand myself better, how to develop my ideas and look at how to make optimum use of my amenities. They asked difficult questions to help me express where I wanted to take the museum. I was given much more than simply advice about my business plan.”

4

� B � � ( MA � �� . � S � � � �� B � � � � � � Y � �� . � �� C E � � � � � � � � � S � �� S � � � � � � �� + � � � O � �� P � � B A � �� M � � � �. � � � � � � � � �� ) ( ( � � � �� - � �A �� . � � � � .�� .�� ) . � � � � � �� - � .� � � �� ) � � � � D � � � -


“I learned to understand myself better and further develop my ideas.”

CONTENTs

I N T E R V I E W

5

CONTENTs

C��+O�� C�� + B�� , �� . F�� , �� -��.��/��

“When creatives are engaged in social themes, it can yield a lot”, says Maaike Roozenburg. She was one of the s peakers at a network meeting about loneliness, organised by Cultuur+Ondernemen. Roozenburg: “I found it really interesting meeting people who were engaged in the issues from a different perspective.”

DIFFERENT PERSPECTIVES Roozenburg has had a fascination for the theme of loneliness for some years. She has collaborated with other parties, such as health providers, a housing association and the government, on various projects covering this subject. “I believe strongly in working together. Loneliness is such a complex issue with so many facets. There are very many ways of doing something with the theme.” 6

7

� B U � � MD � �� B M � �� Y �� R � � E � � � � � �� S � , � � � � �� P � � � � ( B � � � � � � � �� . � � � � �� ( � � � � ( � � . � � -� � � � � � � � � � � � � � � � � . � � � � .� � �� . � � � �� . � � � � � � � � � �.� ) �� . � � � � ) � � � � � � � � � � � � - .� � � � ) � � � D � � � � � CONTENTs

The network meeting was an interesting way of bringing together the various perspectives. “It was really vibrant”, Roozenburg remembers. “I got a lot back from the audience; there were lots of questions and ideas. It was a very diverse crowd. It perfectly demonstrates that there are many ways of making a contribution to the discussion surrounding this theme. I believe absolutely that it can add value if creative are engaged in problems that do not traditionally belong in their field”. Read the full interview on cultuur-ondernemen.nl/zakelijke-gids

“I got a lot back from the audience; there were lots of questions and ideas”

© Julia Blaukopf

CONTENTs

I N T E R V I E W

C��+O�� C�� + B�� , �� . F�� , �� -��.��/��

“When creatives are engaged in social themes, it can yield a lot”, says Maaike Roozenburg. She was one of the s peakers at a network meeting about loneliness, organised by Cultuur+Ondernemen. Roozenburg: “I found it really interesting meeting people who were engaged in the issues from a different perspective.”

DIFFERENT PERSPECTIVES Roozenburg has had a fascination for the theme of loneliness for some years. She has collaborated with other parties, such as health providers, a housing association and the government, on various projects covering this subject. “I believe strongly in working together. Loneliness is such a complex issue with so many facets. There are very many ways of doing something with the theme.” 6

7

� B U � � MD � �� B M � �� Y � � � �� E � �R � � � � � � � �� S � , � � � � �� P � � ( B � � � � � � � �� .� � �� ( � � � � ( � � . � � -� � � � � � � � � � � � � � � � � . � � � � .� � �� . � � � �� .�� . � � � �� ) �� . � � � � ) � � � � � � � � � � � - .� � � � ) � � � � D � � � � -

The network meeting was an interesting way of bringing together the various perspectives. “It was really vibrant”, Roozenburg remembers. “I got a lot back from the audience; there were lots of questions and ideas. It was a very diverse crowd. It perfectly demonstrates that there are many ways of making a contribution to the discussion surrounding this theme. I believe absolutely that it can add value if creative are engaged in problems that do not traditionally belong in their field”. Read the full interview on cultuur-ondernemen.nl/zakelijke-gids

“I got a lot back from the audience; there were lots of questions and ideas”

© Julia Blaukopf

CONTENTs

CONTENTs

CONTENTs

CONTENTs

ENTREPRENEURSHIP: HOW DO I GET STARTED?

W��:

T�� W��, H�� W�� Every artist and creative entrepreneur knows what they do and often how they do it. But why do you actually do what you do? What is your conviction? How do you and other people benefit from it? Briefly put: your why is your motive, the how are the actions you undertake to achieve your motives and the what represents the results of those actions.

H��: H�� I �� ? A model that is often used for this is Simon Sinek’s golden circle.

Golden Circle, Simon Sinek 8

9

��

��

1 2 3

W��: Answer for yourself the three questions below. It doesn’t have to be perfect right away. What instinctively are the first questions that come to mind:

Why do you do what you do? What makes you happy? What is your reason to get up in the morning? And what is the benefit to other people? How are you going to take action? What are the five things you are going to do every day to get closer to your goal? What are the desired results of your actions? And what does the progress look like? Making it visual will help you take action and stay motivated.

B�� M�� Y��

Look at it again a little later. This help you gradually develop you own why. Whether it takes a week, a month, or more likely a year or longer, it is something that continues to develop as long as you are and remain engaged in it.

Another much used model to see where you are and where you want to be is Alexander Osterwalder’s Business Model You. It is a visual method of identifying your product, target audience and marketing instruments. Elements of this model appear in this guide. Take the example from pp. 10 and 11 and fill it in on your own or with others.

CONTENTs

CONTENTs

ENTREPRENEURSHIP: HOW DO I GET STARTED?

W��:

T�� W��, H�� W�� Every artist and creative entrepreneur knows what they do and often how they do it. But why do you actually do what you do? What is your conviction? How do you and other people benefit from it? Briefly put: your why is your motive, the how are the actions you undertake to achieve your motives and the what represents the results of those actions.

H��: H�� I �� ? A model that is often used for this is Simon Sinek’s golden circle.

Golden Circle, Simon Sinek 8

9

��

��

1 2 3

W��: Answer for yourself the three questions below. It doesn’t have to be perfect right away. What instinctively are the first questions that come to mind:

Why do you do what you do? What makes you happy? What is your reason to get up in the morning? And what is the benefit to other people? How are you going to take action? What are the five things you are going to do every day to get closer to your goal? What are the desired results of your actions? And what does the progress look like? Making it visual will help you take action and stay motivated.

B�� M�� Y��

Look at it again a little later. This help you gradually develop you own why. Whether it takes a week, a month, or more likely a year or longer, it is something that continues to develop as long as you are and remain engaged in it.

Another much used model to see where you are and where you want to be is Alexander Osterwalder’s Business Model You. It is a visual method of identifying your product, target audience and marketing instruments. Elements of this model appear in this guide. Take the example from pp. 10 and 11 and fill it in on your own or with others.

CONTENTs

CONTENTs

BUSINESS MODEL YOU CANVAS WHO HELPS YOU?

WHAT DO YOU DO?

HOW DO YOU HELP?

(��)

(��)

(�� )

10

WHAT YOU CON TRIBUTE

WHICH RELATIONSHIP DO YOU ESTABLISH?

WHO DO YOU HELP WITH IT?

(�� )

(�� )

WHO ARE YOU & WHAT ARE YOUR SKILLS?

HOW ARE YOU KNOWN? HOW DO YOU DELIVER?

(��)

(��)

11

WHAT YOU RECE IVE (�� )

(��)

businessmodelyou.com

Ernst Houdkamp (scherperstellen.nl)

CONTENTs

CONTENTs

BUSINESS MODEL YOU CANVAS WHO HELPS YOU?

WHAT DO YOU DO?

HOW DO YOU HELP?

(��)

(��)

(�� )

10

WHICH RELATIONSHIP DO YOU ESTABLISH?

WHO DO YOU HELP WITH IT?

(�� )

(�� )

WHO ARE YOU & WHAT ARE YOUR SKILLS?

HOW ARE YOU KNOWN? HOW DO YOU DELIVER?

(��)

(��)

WHAT YOU CON TRIBUTE

11

WHAT YOU RECE IVE (�� )

(��)

businessmodelyou.com

I N T E R V I E W

Ernst Houdkamp (scherperstellen.nl)

C�� , �� , �� ? I� ��, �� . F�� , �� -��.��/��

The programme was really crucial to our existence now that we had become a real company,” says scriptwriter Dick van den Heuvel. Along with his Homemade Productions Foundation, he followed a con sultancy programme for the funding of the mus ical Spijt!. The results: a long-term deal with a major bank which Van den Heuvel says was an important basis for the maturity of his production company.

Cast of the musical 'Spijt'

CONSULTANCY PROGRAMME The manner in which Van den Heuvel got to know Cultuur+Ondernemen was relatively informal: “At the end of last year I met a consultant at a meeting about the Cultural Loan. His story was clear and inspiring. Then I asked him whether we could talk about funding some time.”

12

� A ( � � � � � � � � � � � .� � � � � � � � � � � ,� � � � � , � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � - .� � � � � � ) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � S � � � � � � � � � � � ! , � . � . � � � �

CONTENTs

� S � � � � � � � � � � � � � � � � � � � � � � D � � � � � � H � � � � � � � � � � � � H � � P � � � � � � � � ( � � � � � � � � � .� � F � � � � � � � � � � � � � � � � � � � � � � � .� � )

At the time Van den Heuvel was busy producing Spijt! the musical, after a book by Carry Slee. The musical was being produced without a subsidy, which meant the costs would be paid from the profits. So Van den Heuvel wanted a consultant to help him look at the options for a bridging loan. “Because I want to include everything I have come up with to produce the play, which means we’ll need the money before we get it.”

13

Van den Heuvel himself wrote a proposal for the bank and submitted documents, after which the consultant took care of drafting the contents and financial aspects. “That was great because there are so many details and I am anything but a financial expert,” says Van den Heuvel. By meeting regularly and making adjustments, they arrived at a well set-out plan. “At the bank that we finally opted for, they said that the proposal was so good that they wished everyone would submit them in the same way,” explains Van den Heuvel enthusiastically. “It was well set out and properly argued, so they wanted to work with us.” Now the foundation has a long-term funding agreement. “That makes everything a lot clearer.” Whenever necessary the bank provides the cash and as soon as the production generates sales we pay it back. Read the full interview on cultuur-ondernemen.nl/zakelijke-gids

“The costs are paid out of the profits.”

CONTENTs

I N T E R V I E W

C�� , �� , �� ? I� ��, �� . F�� , �� -��.��/��

The programme was really crucial to our existence now that we had become a real company,” says scriptwriter Dick van den Heuvel. Along with his Homemade Productions Foundation, he followed a con sultancy programme for the funding of the mus ical Spijt!. The results: a long-term deal with a major bank which Van den Heuvel says was an important basis for the maturity of his production company.

Cast of the musical 'Spijt'

CONSULTANCY PROGRAMME The manner in which Van den Heuvel got to know Cultuur+Ondernemen was relatively informal: “At the end of last year I met a consultant at a meeting about the Cultural Loan. His story was clear and inspiring. Then I asked him whether we could talk about funding some time.” At the time Van den Heuvel was busy producing Spijt! the musical, after a book by Carry Slee. The musical was being produced without a subsidy, which meant the costs would be paid from the profits. So Van den Heuvel wanted a consultant to help him look at the options for a bridging loan. “Because I want to include everything I have come up with to produce the play, which means we’ll need the money before we get it.”

12

� A ( � � � � � � � � � � � .� � � � � � � � � � � ,� � � � � , � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � - .� � � � � � ) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � S � � � � � � � � � � � � � ! , � . � . � � � �

� S � � � � � � � � � � � � � � � � � � � � � � D � � � � � � H � � � � � � � � � � � � H � � P � � � � � � � � ( � � � � � � � � � .� � F � � � � � � � � � � � � � � � � � � � � � � � .� � )

Van den Heuvel himself wrote a proposal for the bank and submitted documents, after which the consultant took care of drafting the contents and financial aspects. “That was great because there are so many details and I am anything but a financial expert,” says Van den Heuvel. By meeting regularly and making adjustments, they arrived at a well set-out plan. “At the bank that we finally opted for, they said that the proposal was so good that they wished everyone would submit them in the same way,” explains Van den Heuvel enthusiastically. “It was well set out and properly argued, so they wanted to work with us.” Now the foundation has a long-term funding agreement. “That makes everything a lot clearer.” Whenever necessary the bank provides the cash and as soon as the production generates sales we pay it back. Read the full interview on cultuur-ondernemen.nl/zakelijke-gids

“The costs are paid out of the profits.”

CONTENTs

I N T E R V I E W

13

CONTENTs

C��+O�� D� B��, �� D� B��’� �� . I� �� , �� -��.��/��-��.

“It was a really special course; so personal that you built up a bond with everyone”, Maarten Bakker explains. Eleven years ago he graduated from the Maastricht Academy of Performing Arts. Four years ago he launched Studio de Bakkerij, a foundation incorporating its own theatre company. “I had already followed shorter courses, but had reach the point that I needed more intensification. Organisi ng a theatre team requires different skills than directing a company.”

INTENSIFICATION Through Cultuur+Ondernemen, he was able to take part for the cost of accommodation. Now, more than a year later, he is still in touch with his classmates. “For example, we have a group App which we use to give each other a wake-up call .” In around six months, Bakker followed five modules, each lasting four days. “It was highly varied. We sat in a hut on the moor, went to a silent retreat and travelled to Vilnius together.” The course was about becoming aware of the patterns in your life and how to change or strengthen them. They also closely examined you as a person and your own organisation.

14

�B � � M M � �� D � �� B � � �� B �� B Y �� Y � � � � �� E � � �� S � S �� E � � � � � � � � �� P B � � � � B � � � �� P � � � �� ( ( � � � � � ( � � � - � � �� -� . . � � .� �� ( � � � � � � � � � � � � � �� .�� . �� ) � � � � . � � � � �� .� �� ) . � . . �- � � � � � � � � ) ) � -D � � � CONTENTs

15

It was very personal. “For instance, the first module was about our childhood and the patterns we developed at the time. For the first assignment we had to play outside and while we were playing football certain things from the past immediately emerged. The trainers noticed these without fail and responded to them.” Laughing: “Yes, a few tears were shed there.” Read the full interview on cultuur-ondernemen.nl/zakelijke-gids

“They examine your own organisation and you as a person very closely.”

© Roelof Jan Mulder

CONTENTs

I N T E R V I E W

C��+O�� D� B��, �� D� B��’� �� . I� �� , �� -��.��/��-��.

“It was a really special course; so personal that you built up a bond with everyone”, Maarten Bakker explains. Eleven years ago he graduated from the Maastricht Academy of Performing Arts. Four years ago he launched Studio de Bakkerij, a foundation incorporating its own theatre company. “I had already followed shorter courses, but had reach the point that I needed more intensification. Organisi ng a theatre team requires different skills than directing a company.”

INTENSIFICATION Through Cultuur+Ondernemen, he was able to take part for the cost of accommodation. Now, more than a year later, he is still in touch with his classmates. “For example, we have a group App which we use to give each other a wake-up call .” In around six months, Bakker followed five modules, each lasting four days. “It was highly varied. We sat in a hut on the moor, went to a silent retreat and travelled to Vilnius together.” The course was about becoming aware of the patterns in your life and how to change or strengthen them. They also closely examined you as a person and your own organisation.

14

�B � � M M � �� D � � � �� B � � �� B �� B Y �� Y � � � �� E � �� S � S �� E � � � � � � � � �� P � � B B � � � � � � �� P � � � �� ( ( � � � � ( � �� -� . . � � .� �� ( � � � � � � � � � � � � � �� .�� .� �� ) � � � � . � �� .� �� ) . �- .�.� � � � � � � ) ) � -D � � � -

15

It was very personal. “For instance, the first module was about our childhood and the patterns we developed at the time. For the first assignment we had to play outside and while we were playing football certain things from the past immediately emerged. The trainers noticed these without fail and responded to them.” Laughing: “Yes, a few tears were shed there.” Read the full interview on cultuur-ondernemen.nl/zakelijke-gids

“They examine your own organisation and you as a person very closely.”

© Roelof Jan Mulder

CONTENTs

CONTENTs

CONTENTs

CONTENTs

CAREER: WHAT DO I WANT TO ACCOMPLISH? W�� I �� I �� ? Everything starts with a clear, concise and catchy story. Make sure you can briefly explain who you are, what moves you, what you are good at, what you make and what the characteristics of your work are. Fill it in and after some time look to see if it is still true. It is quite normal for you to think differently about it.

W�� ? You probably so a lot but you do not call yourself an entrepreneur. Where are your qualities and where are your weaknesses? What do you have to work on to increase your chances of success? The combination of professional expertise, skills and attitude is important. Discover your strong points and which things could use some improvement. Decide whether you want to build on your strengths or get started on your weak points. Artists prove to be very entrepreneurial types. At 60%, the percentage that starts out autonomously is far above the average of 15% among HBO graduates.

W�� ? W�� I:

16

W�� :

Invite people to give their opinion on your work and your approach. That can be done in person or on a website and social media. Raise visibility through Facebook, LinkedIn, Instagram, Twitter and other social media platforms. Choose whichever best suits you. Be open to other people’s comments about your work and your skills. It will only make your presentation improve.

W�� ?

W�� I �� :

W�� I �� :

During your career you may operate in different areas of work. We call this hybrid professional practice. This might consist of commissioned work, free work, teaching, consultancy work, working as an artist in other social domains etc. It could even involve working at an organisation a role other than that of artist. You could be operating in one or more sectors at a time, or you may concentrate on one particular sector. This model moves along with the phases of your career and the market opportunities.

C�� : A��/ ��

W�� :

W�� I ��:

K��

S��

A��

O��

Five point plan

17

CONTENTs

CONTENTs

CAREER: WHAT DO I WANT TO ACCOMPLISH?

W�� ? You probably so a lot but you do not call yourself an entrepreneur. Where are your qualities and where are your weaknesses? What do you have to work on to increase your chances of success? The combination of professional expertise, skills and attitude is important. Discover your strong points and which things could use some improvement. Decide whether you want to build on your strengths or get started on your weak points.

W�� I �� I �� ? Everything starts with a clear, concise and catchy story. Make sure you can briefly explain who you are, what moves you, what you are good at, what you make and what the characteristics of your work are. Fill it in and after some time look to see if it is still true. It is quite normal for you to think differently about it.

Artists prove to be very entrepreneurial types. At 60%, the percentage that starts out autonomously is far above the average of 15% among HBO graduates.

W�� ? Invite people to give their opinion on your work and your approach. That can be done in person or on a website and social media. Raise visibility through Facebook, LinkedIn, Instagram, Twitter and other social media platforms. Choose whichever best suits you. Be open to other people’s comments about your work and your skills. It will only make your presentation improve.

W�� I:

16

W�� :

17

W�� ? During your career you may operate in different areas of work. We call this hybrid professional practice. This might consist of commissioned work, free work, teaching, consultancy work, working as an artist in other social domains etc. It could even involve working at an organisation a role other than that of artist. You could be operating in one or more sectors at a time, or you may concentrate on one particular sector. This model moves along with the phases of your career and the market opportunities.

W�� I �� :

W�� I �� :

C�� : A��/ ��

W�� :

K��

S��

A��

O��

W�� I ��:

Five point plan

CONTENTs

CONTENTs

H�� I �� ?

C� ��

Expand your frontiers and examine the possibilities of working outside the conventional cultural field. Think about you added value to organisations outside the cultural world, or example in healthcare, business or your neighbourhood. Be aware that as an artist, you possess qualities that you can deploy in other sectors. Being an artist consists of more than simply having an artistic bent. The principle is that as an artist, you can put your skills to use within a specific project or area of work. On Cultuur+Ondernemen’s website, you can find projects under Creativity+Business that will inspire you or that you can register with.

This is an example of a short-term career plan. You can do the same for the longer term, for example a three-year plan.

W�� , �� ?

18

As an artist you strive towards the highest quality. You may be in danger of investing too much time in an assignment that is not in proportion to your fee. What this means is that as an entrepreneur you need to realise that there is a relationship between time, money and quality. It means that good is good enough according to the lower limit that you set in relation to the assignment. Where you place the emphasis is your choice. For instance, sometimes an assignment will earn you a lot of money in relatively little time whereas at other times an assignment may pay little financially but give you huge exposure.

1

What do I want over the next 12 months: Limit yourself to no more than three goals

2

What do I want to learn in the coming time: In which aspects do I want to develop?

3

Which concrete actions am I going to undertake:

4

What and who will I need to achieve my goals:

5

When do I want to carry out which action and with what result:

��

Set out your actions in a time line

��

��

H�� I �� ? Make sure your website is up to date. That is more than a folder containing information about recent work and your CV. Reserve a space for your experiences. On a website you can reflect on what you have done and which roles you have played, say, in projects. You can let other people respond to what you have done. You can recognise patterns in all the experiences and use them to set future goals.

Short-term schedule

For a long-term plan: fill in the schedule for a period of three years.

19

CONTENTs

CONTENTs

H�� I �� ?

C� ��

Expand your frontiers and examine the possibilities of working outside the conventional cultural field. Think about you added value to organisations outside the cultural world, or example in healthcare, business or your neighbourhood. Be aware that as an artist, you possess qualities that you can deploy in other sectors. Being an artist consists of more than simply having an artistic bent. The principle is that as an artist, you can put your skills to use within a specific project or area of work. On Cultuur+Ondernemen’s website, you can find projects under Creativity+Business that will inspire you or that you can register with.

This is an example of a short-term career plan. You can do the same for the longer term, for example a three-year plan.

W�� , �� ?

18

As an artist you strive towards the highest quality. You may be in danger of investing too much time in an assignment that is not in proportion to your fee. What this means is that as an entrepreneur you need to realise that there is a relationship between time, money and quality. It means that good is good enough according to the lower limit that you set in relation to the assignment. Where you place the emphasis is your choice. For instance, sometimes an assignment will earn you a lot of money in relatively little time whereas at other times an assignment may pay little financially but give you huge exposure.

1

What do I want over the next 12 months: Limit yourself to no more than three goals

2

What do I want to learn in the coming time: In which aspects do I want to develop?

3

Which concrete actions am I going to undertake:

4

What and who will I need to achieve my goals:

5

When do I want to carry out which action and with what result:

19

��

Set out your actions in a time line

��

��

H�� I �� ?

Short-term schedule

Make sure your website is up to date. That is more than a folder containing information about recent work and your CV. Reserve a space for your experiences. On a website you can reflect on what you have done and which roles you have played, say, in projects. You can let other people respond to what you have done. You can recognise patterns in all the experiences and use them to set future goals.

For a long-term plan: fill in the schedule for a period of three years.

CONTENTs

CONTENTs

P�� There are different phases in your career. It is not a prescribed route. It is up to you to determine which role best suits you at any given time. You can take on several roles at the same time.

ONTO THE MARKET: HOW CAN I SELL MY VALUE?

learning, experimenting, orienting H�� I �� ? 1.�� producing, defining goals, profiling 2.�� artistic identity, position in art world, intensification 20

3.��

4.�� influence developments in and shaping the work field

W�� Look at the possibilities in the Culture Sector Plan. If presents opportunities of increasing your position on the job market through apprenticeships, career programmes, entrepreneurial training etc.

To most people, art is not a primary need so you will have to take action yourself to bring your work or ideas to their attention. How do you go about that though? Make a plan! You have determined who you are and what you do. Now is the time to research who your potential customers or audience are. You need to be able to reach your potential customer. You can different sorts of customers. You can also have direct and indirect customers. Divide them up into segments and you can offer each segment something different. It is handy if you make them as specific as possible which means avoiding umbrella terms. So don’t use ‘youth’ because you wouldn’t approach an adolescent in the same way you would a child of primary school age. Think from the client’s or customer’s point of view. Why is he asking you and not someone else? Think up and formulate the special value that will reel in your client.

W�� I �� ? How can you get in touch with potential customers and inform them of your added value? This can be done in a variety of ways, such as word-of-mouth advertising, website, blogs or pitches. The possibilities are endless and they relate to your personality and your offering. Besides customer acquisition, finding ‘buyers’ for your ‘product’, you also need to do some marketing: placing yourself in the position of the clients and companies you want to reach with your work.

U�� If you work in business, you will encounter subjects you don’t know enough about. In addition it is important to keep abreast of the latest developments. There are various organisations and companies that can advise you. Look on the internet and sign up to newsletters.

Bring attention to your work. Make a plan!

21

CONTENTs

CONTENTs

P�� There are different phases in your career. It is not a prescribed route. It is up to you to determine which role best suits you at any given time. You can take on several roles at the same time.

ONTO THE MARKET: HOW CAN I SELL MY VALUE?

learning, experimenting, orienting H�� I �� ? To most people, art is not a primary need so you will have to take action yourself to bring your work or ideas to their attention. How do you go about that though? Make a plan! You have determined who you are and what you do.

1.�� producing, defining goals, profiling 2.�� artistic identity, position in art world, intensification 20

3.��

4.�� influence developments in and shaping the work field

W�� Look at the possibilities in the Culture Sector Plan. If presents opportunities of increasing your position on the job market through apprenticeships, career programmes, entrepreneurial training etc.

Now is the time to research who your potential customers or audience are. You need to be able to reach your potential customer. You can different sorts of customers. You can also have direct and indirect customers. Divide them up into segments and you can offer each segment something different. It is handy if you make them as specific as possible which means avoiding umbrella terms. So don’t use ‘youth’ because you wouldn’t approach an adolescent in the same way you would a child of primary school age.

21

Think from the client’s or customer’s point of view. Why is he asking you and not someone else? Think up and formulate the special value that will reel in your client.

W�� I �� ? How can you get in touch with potential customers and inform them of your added value? This can be done in a variety of ways, such as word-of-mouth advertising, website, blogs or pitches. The possibilities are endless and they relate to your personality and your offering. Besides customer acquisition, finding ‘buyers’ for your ‘product’, you also need to do some marketing: placing yourself in the position of the clients and companies you want to reach with your work.

U�� If you work in business, you will encounter subjects you don’t know enough about. In addition it is important to keep abreast of the latest developments. There are various organisations and companies that can advise you. Look on the internet and sign up to newsletters.

Bring attention to your work. Make a plan!

CONTENTs CONTENTs

CONTENTs

M� ��: �� I �� , �� ? You know by now who may be interested in your work and what your added value is. Find out where they are and what the are up to. Besides the quality of what you make, the personal side is also very important. If you click with the buyer, they are more likely to purchase something from you that from someone else. This is the goodwill factor. Then it is important that they are prepared to spend money on your offering. Bear in mind that you will change over time and that the market will too. Customers do not stay forever. Keep in touch with your previous clients and adapt to any developments.

DISTRICTS councils, housing associations, real estate

22

HEALTHCARE hospitals, care centres, homes for the elderly

When you are starting out finding customers is often done through people you know. Consider who might be able to do something for you, such as family, friends, colleagues, teachers and mentors. They can serve as a sounding board and help you further define your plans. They can advise you and motivate you in becoming the professional you envisage yourself to be. However, bear your stakeholders in mind too; all of those interested parties you deal with. If you keep everyone informed about what you are doing and your stakeholders are satisfied, they will recommend you to others.

W�� ? Your network consists of the links which could potentially be of importance in helping you reach a certain target audience. Studies show that everyone in the world is linked to everyone else through five connections. Do you realise what opportunities this offers? Take a potential client and think about who you could reach them through.

M� �� | Aimed at organisations COMPANIES accountancy, sme etc.

W�� ?

EDUCATION primary, secondary, university

Your network is often bigger than you think! Map out your own network. People you know (your own network) in turn know other people who could be important for you. This way you make use of warm contacts to approach cold contacts. By consulting them, your own network becomes bigger and bigger. Be aware that you also perform this role for other people. Regularly tell other people what you are doing so you can help one another.

M� �� M� �� | Aimed at target audiences PEOPLE WITH A DISABILITY

PROFESSIONAL/INDUSTRY ORGANISATIONS

FORMER CLASSMATES

CHILDREN EXISTNG CUSTOMERS HIGHKY EDUCATED

FIFTY+

ART CONNOISSEURS

FAMILY

CITY PEOPLE

FRIENDS

TEACHERS CLIENTS

FELLOW ARTISTS

23

CONTENTs CONTENTs

CONTENTs

M� ��: �� I �� , �� ?

W�� ? When you are starting out finding customers is often done through people you know. Consider who might be able to do something for you, such as family, friends, colleagues, teachers and mentors. They can serve as a sounding board and help you further define your plans. They can advise you and motivate you in becoming the professional you envisage yourself to be. However, bear your stakeholders in mind too; all of those interested parties you deal with. If you keep everyone informed about what you are doing and your stakeholders are satisfied, they will recommend you to others.

You know by now who may be interested in your work and what your added value is. Find out where they are and what the are up to. Besides the quality of what you make, the personal side is also very important. If you click with the buyer, they are more likely to purchase something from you that from someone else. This is the goodwill factor. Then it is important that they are prepared to spend money on your offering. Bear in mind that you will change over time and that the market will too. Customers do not stay forever. Keep in touch with your previous clients and adapt to any developments.

W�� ? Your network consists of the links which could potentially be of importance in helping you reach a certain target audience. Studies show that everyone in the world is linked to everyone else through five connections. Do you realise what opportunities this offers? Take a potential client and think about who you could reach them through.

M� �� | Aimed at organisations COMPANIES accountancy, sme etc.

DISTRICTS councils, housing associations, real estate

Your network is often bigger than you think! Map out your own network. People you know (your own network) in turn know other people who could be important for you. This way you make use of warm contacts to approach cold contacts. By consulting them, your own network becomes bigger and bigger. Be aware that you also perform this role for other people. Regularly tell other people what you are doing so you can help one another.

22

HEALTHCARE hospitals, care centres, homes for the elderly

EDUCATION primary, secondary, university

23

M� �� M� �� | Aimed at target audiences PEOPLE WITH A DISABILITY

PROFESSIONAL/INDUSTRY ORGANISATIONS

FORMER CLASSMATES

CHILDREN EXISTNG CUSTOMERS HIGHKY EDUCATED

FIFTY+

FAMILY

CITY PEOPLE

FRIENDS

TEACHERS

ART CONNOISSEURS

CLIENTS

FELLOW ARTISTS

CONTENTs

CONTENTs

MONEY: WHERE CAN I GET IT?

T�� 5 P� Another way of working on your marketing is with the Ps. In addition you think from your own perspective. There are four basic elements for developing your marketing activities: product, price, promotion and place. But a good idea on its own is not enough. You also need to know how to sell it. That is in fact the fifth P: Provoke. Fill in the 5Ps for yourself.

T�� : �� 1

You need money to be able to live and work. Sometimes you have to fund your activities before you can get any revenues streams from them. This method of funding is therefore aimed at generating income. It can be done in several different ways and you usually work with a combination of this: the funding mix.

Product: What am I going to offer and what is the value to the customer or the audience?

T�� 2

Price: What is the cost price in terms of equipment and hours worked, what is the sale price or buyout and what do others ask for comparable activities? How much is the buyer prepared to pay for them?

24

You can make a distinction between three financial forms: 25

1

short term (daily revenues and expenditures)

2

medium term (investments to improve sales/lower costs)

3

Promotion: How am I going to bring my product to the attention of my buyer? What is my sales argument besides the fact that it is great? What are my promotional tools and how am I going to put them to use?

4

3

long term (buffer) Your revenue model indicates how you earn money with your offer and how you organise the funding of your company. This may also be in the form of a loan. Cultuur+Ondernemen has set up a fund that offers low-interest loans for artists, creatives and cultural institutes: the Culture+Financing Fund.

Place: Where am I going to set myself up and why am I choosing this place? Or shall I do everything virtually?

5

Provoke: How shall I tempt my buyers?

A combination is often needed: the funding mix

CONTENTs

CONTENTs

MONEY: WHERE CAN I GET IT?

T�� 5 P� Another way of working on your marketing is with the Ps. In addition you think from your own perspective. There are four basic elements for developing your marketing activities: product, price, promotion and place. But a good idea on its own is not enough. You also need to know how to sell it. That is in fact the fifth P: Provoke. Fill in the 5Ps for yourself.

T�� : �� 1

You need money to be able to live and work. Sometimes you have to fund your activities before you can get any revenues streams from them. This method of funding is therefore aimed at generating income. It can be done in several different ways and you usually work with a combination of this: the funding mix.

Product: What am I going to offer and what is the value to the customer or the audience?

T�� 2

Price: What is the cost price in terms of equipment and hours worked, what is the sale price or buyout and what do others ask for comparable activities? How much is the buyer prepared to pay for them?

24

You can make a distinction between three financial forms: 25

1

short term (daily revenues and expenditures)

2

medium term (investments to improve sales/lower costs)

3

Promotion: How am I going to bring my product to the attention of my buyer? What is my sales argument besides the fact that it is great? What are my promotional tools and how am I going to put them to use?

4

3

long term (buffer) Your revenue model indicates how you earn money with your offer and how you organise the funding of your company. This may also be in the form of a loan. Cultuur+Ondernemen has set up a fund that offers low-interest loans for artists, creatives and cultural institutes: the Culture+Financing Fund.

Place: Where am I going to set myself up and why am I choosing this place? Or shall I do everything virtually?

5

Provoke: How shall I tempt my buyers?

A combination is often needed: the funding mix

CONTENTs

CONTENTs

W�� ? In everyday practice, a lot of time and attention are spent on the short term: the daily revenues and expenditures. Where does the cash come from and what do you spend it on? If you are to realise a project, you often need extra resources. You have to be able to present your plan well and be clear about what you want to accomplish. Knowing your stakeholders’ interests and needs is a key condition for creating your own funding. To make it succeed you could consider crowdfunding, putting up part of the project for adoption, contributions from people you are close to (so-called Family, Friends and Fools), various admission fees, post payment according to value or hand out shares/obligations to create a platform. A contribution from the government cannot be taken for granted.

26

Sponsoring or patronage can also yield contributions. Research who is the best match for your project. A sponsor will ask for something in return, a patron will donate altruistically. A named fund is a form of patronage. You can also put in subsidy applications to governments and funds. Formulate why you are approaching a particular sponsor, patron or fund. Be careful; with some funds you are only allowed to put in an application as a legal entity. At the same time you really want to build up reserves for the long term; buffers to absorb setbacks if required. Reserves ensure continuity, especially in turbulent times.

H�� I �� ? Do you need money to fund equipment, materials, a computer or the manufacture of a collection? If your investment can pay itself back then you are likely to qualify for a low-interest loan. Cultuur+Ondernemen has set up the Culture+Financing Fund especially for this eventuality. This fund offers loans to artists, creatives and cultural institutes and can be used, for example, for a fashion collection, studio modifications, workshop space, equipment or instruments. For larger loans we collaborate with other financiers including Triodos Bank.

H�� I �� ? A lot of artists get their revenues from various sources: exhibiting, sales, performing, teaching, working under commission or activities outside the arts. Sometimes you earn more working under commission and at other time you earn more through teaching, sales or performing.

What is my revenue model? The way you earn money and the qualities that you need to do so can vary per area of work. The revenues streams generated range from fixed to fluctuating depending on the work. How do I calculate my price? This is a question we hear a lot and there is no simple answer to it. Remember not to put more hours into a job than you are being paid for. How much an hour do you want to keep for yourself? Will you be asking for a price for a product, the whole process or will you be calculating the materials used and the hours you put in? Research what similar artists and other creatives are asking. Don’t forget that you have to pay income tax. If you work abroad then other tax laws apply. How much do I get for a performance? This is a matter for negotiation. Be aware who you are dealing with. It depends how well-known you are and how big the ensemble or band is that performs with you. One stage will have a bigger budget than another. Sometimes you will be able to agree a programme in your favour or use a venue as a try-out. For work in an orchestra or theatre company, you can look at the collective bargaining agreement for the branch. Establish whether your pay is net or gross.

27

N o t e s

CONTENTs

CONTENTs

W�� ? In everyday practice, a lot of time and attention are spent on the short term: the daily revenues and expenditures. Where does the cash come from and what do you spend it on? If you are to realise a project, you often need extra resources. You have to be able to present your plan well and be clear about what you want to accomplish. Knowing your stakeholders’ interests and needs is a key condition for creating your own funding. To make it succeed you could consider crowdfunding, putting up part of the project for adoption, contributions from people you are close to (so-called Family, Friends and Fools), various admission fees, post payment according to value or hand out shares/obligations to create a platform. A contribution from the government cannot be taken for granted.

26

Sponsoring or patronage can also yield contributions. Research who is the best match for your project. A sponsor will ask for something in return, a patron will donate altruistically. A named fund is a form of patronage. You can also put in subsidy applications to governments and funds. Formulate why you are approaching a particular sponsor, patron or fund. Be careful; with some funds you are only allowed to put in an application as a legal entity.

What is my revenue model? The way you earn money and the qualities that you need to do so can vary per area of work. The revenues streams generated range from fixed to fluctuating depending on the work. How do I calculate my price? This is a question we hear a lot and there is no simple answer to it. Remember not to put more hours into a job than you are being paid for. How much an hour do you want to keep for yourself? Will you be asking for a price for a product, the whole process or will you be calculating the materials used and the hours you put in? Research what similar artists and other creatives are asking. Don’t forget that you have to pay income tax. If you work abroad then other tax laws apply. How much do I get for a performance? This is a matter for negotiation. Be aware who you are dealing with. It depends how well-known you are and how big the ensemble or band is that performs with you. One stage will have a bigger budget than another. Sometimes you will be able to agree a programme in your favour or use a venue as a try-out. For work in an orchestra or theatre company, you can look at the collective bargaining agreement for the branch. Establish whether your pay is net or gross.

At the same time you really want to build up reserves for the long term; buffers to absorb setbacks if required. Reserves ensure continuity, especially in turbulent times.

27

N o t e s

H�� I �� ? Do you need money to fund equipment, materials, a computer or the manufacture of a collection? If your investment can pay itself back then you are likely to qualify for a low-interest loan. Cultuur+Ondernemen has set up the Culture+Financing Fund especially for this eventuality. This fund offers loans to artists, creatives and cultural institutes and can be used, for example, for a fashion collection, studio modifications, workshop space, equipment or instruments. For larger loans we collaborate with other financiers including Triodos Bank.

H�� I �� ? A lot of artists get their revenues from various sources: exhibiting, sales, performing, teaching, working under commission or activities outside the arts. Sometimes you earn more working under commission and at other time you earn more through teaching, sales or performing.

CONTENTs

CONTENTs

BUSINESS: HOW CAN I ORGANISE IT? W�� ? Various terms are used if you go into business on your own. These are: contractor, entrepreneur, freelancer and sole trader. As an entrepreneur you have to register with the Chamber of Commerce. The Tax Authority is automatically notified about everyone who registers with the Chamber of Commerce. Partnerships are also possible. See more on p. 34.

D�� -��

28

N o t e s

There are two ways of earning money. One is as an employee (paid employment) the other as a contractor. It is also to combine paid employment with working as a contractor. Paid employment is determined by three elements: you have a fixed salary (over which income tax is withheld), there is an employer-employee relationship and you have to do the work yourself. In the event of illness you continue to be paid, you are usually entitled to claim unemployment benefit if you lose your job and you build up a pension. As a contractor you arrange all this yourself. You send an invoice to the client and you have to pay income tax and other taxes.

F�� VAR �� In the Netherlands, a lot changed on 1 May 2016. The Declaration of Independent Contractor Status (VAR) was scrapped and replaced by the Assessment of Employment Relationships Deregulation Act (DBA Act). With a the VAR WUO (VAR business profits) from the contractor, the client was exempted from paying tax and contributions. As of 1 May 2016 clients and contractors must establish that there is no question of an employeremployee relationship. Sometimes this is easy, sometimes it isn’t. The central issue is that the contractor may carry out the work outside the authority of the client. The client may give instructions on what the contractor must do, but not how he or she does it.

T�� In order to establish that there is no employment relationship, the Tax Authority has approved three kinds of model agreements that the client and contractor can use: 1. a general one, 2. per branch or sector (e.g. artists, arts/ cultural education) and 3. a number of individuals (e.g. disc-jockey, masterclass guest teacher, games developer).

29

CONTENTs

CONTENTs

BUSINESS: HOW CAN I ORGANISE IT? W�� ? Various terms are used if you go into business on your own. These are: contractor, entrepreneur, freelancer and sole trader. As an entrepreneur you have to register with the Chamber of Commerce. The Tax Authority is automatically notified about everyone who registers with the Chamber of Commerce. Partnerships are also possible. See more on p. 34.

D�� -�� There are two ways of earning money. One is as an employee (paid employment) the other as a contractor. It is also to combine paid employment with working as a contractor. Paid employment is determined by three elements: you have a fixed salary (over which income tax is withheld), there is an employer-employee relationship and you have to do the work yourself. In the event of illness you continue to be paid, you are usually entitled to claim unemployment benefit if you lose your job and you build up a pension. As a contractor you arrange all this yourself. You send an invoice to the client and you have to pay income tax and other taxes.

28

N o t e s

29

F�� VAR �� In the Netherlands, a lot changed on 1 May 2016. The Declaration of Independent Contractor Status (VAR) was scrapped and replaced by the Assessment of Employment Relationships Deregulation Act (DBA Act). With a the VAR WUO (VAR business profits) from the contractor, the client was exempted from paying tax and contributions. As of 1 May 2016 clients and contractors must establish that there is no question of an employeremployee relationship. Sometimes this is easy, sometimes it isn’t. The central issue is that the contractor may carry out the work outside the authority of the client. The client may give instructions on what the contractor must do, but not how he or she does it.

T�� In order to establish that there is no employment relationship, the Tax Authority has approved three kinds of model agreements that the client and contractor can use: 1. a general one, 2. per branch or sector (e.g. artists, arts/ cultural education) and 3. a number of individuals (e.g. disc-jockey, masterclass guest teacher, games developer).

CONTENTs

CONTENTs

U��

A��

You are not obliged to use a model agreement for every assignment. For instance, if it is absolutely clear that there is no employment relationship between you and the client.

Until recently, a separate scheme applied to artists because as an artist, you could only send an invoice if you had a VAR WUO. Otherwise you had to work under the Artists’ Scheme in which case your wage would be payrolled. Under the new rules, any contractor can send an invoice provided there is no question of an employer-employee relationship. However, you can opt for the former Artists’ Scheme under which you will be payrolled or use the Small fees scheme (KVR).

If you do decide to use a model agreement, then look for the agreement (1-3) that best suits your situation. There are yellow highlighted sections in the model agreements that have been approved by the Tax Authority. These sections are the most important ones and you must not alter them.

P�� E�� A. B. C. D. E. F. 30

I am a contractor and I: have a job for a company lasting two months. am giving a concert in a church or bar. am asking another contractor to do work for me. am selling work / providing a service to a company or individual. am working for a client for an extended period. I am carrying our various activities for the same client. In cases A to D you will not really need a model agreement because it is obvious that there is no question of there being an employer-employee relationship. It may be that the client asks you to provide a model agreement to be on the safe side. Examine its contents carefully. For the situations set out in E and F is would be wise to use a model agreement. You can also refer to the number or the corresponding model agreement in each job confirmation.

A transitional scheme is available until 1 May 2017. This means that the Tax Authority will check but will not issue fines if it later finds that you have in fact worked as an employee rather than as a contractor. So, above all, use this year to gain experience in using or even not using various model agreements. Abbreviations Wet DBA = Assessment of Employment Relationships Deregulation Act VAR = Declaration of Independent Contractor Status VAR WUO = VAR Business profits VAR ROW = VAR Income from other activities KVR = Small Fees Scheme

D��

H�� I �� ?

The DBA Act means the difference between a freelancer and a sole trader has become blurred. It is only clear whether the Tax Authority sees you as an entrepreneur when your Income Tax return has been submitted. If you meet the criteria (hours criterion of 1225 annually, at least three clients, entrepreneur’s risk, advertising) are you entitled to entrepreneur’s benefits such as self-employed and starter’s tax deductions.

Working as a contractor involves taking business and personal risks. Take out proper insurance, but weigh the risks you can and are prepared to take against the cost of the insurance premiums. Investigate the possibilities of a ‘bread fund’ collective in which you share your disability risk with colleagues.

P��

Income when you are ill, become disabled or reach pensionable age;

Insured in the event of illness or unemployment. Pension contributions.

Costs of illness, fire, theft, damage or accidents; Claims by third party as a result of professional negligence.

Not insured in the event of illness or unemployment. No pension contributions. �� Golden triangle

��

31

CONTENTs

CONTENTs

U��

A��

You are not obliged to use a model agreement for every assignment. For instance, if it is absolutely clear that there is no employment relationship between you and the client.

Until recently, a separate scheme applied to artists because as an artist, you could only send an invoice if you had a VAR WUO. Otherwise you had to work under the Artists’ Scheme in which case your wage would be payrolled. Under the new rules, any contractor can send an invoice provided there is no question of an employer-employee relationship. However, you can opt for the former Artists’ Scheme under which you will be payrolled or use the Small fees scheme (KVR).

If you do decide to use a model agreement, then look for the agreement (1-3) that best suits your situation. There are yellow highlighted sections in the model agreements that have been approved by the Tax Authority. These sections are the most important ones and you must not alter them.

P�� E�� A. B. C. D. E. F. 30

I am a contractor and I: have a job for a company lasting two months. am giving a concert in a church or bar. am asking another contractor to do work for me. am selling work / providing a service to a company or individual. am working for a client for an extended period. I am carrying our various activities for the same client. In cases A to D you will not really need a model agreement because it is obvious that there is no question of there being an employer-employee relationship. It may be that the client asks you to provide a model agreement to be on the safe side. Examine its contents carefully. For the situations set out in E and F is would be wise to use a model agreement. You can also refer to the number or the corresponding model agreement in each job confirmation.

A transitional scheme is available until 1 May 2017. This means that the Tax Authority will check but will not issue fines if it later finds that you have in fact worked as an employee rather than as a contractor. So, above all, use this year to gain experience in using or even not using various model agreements. Abbreviations Wet DBA = Assessment of Employment Relationships Deregulation Act VAR = Declaration of Independent Contractor Status VAR WUO = VAR Business profits VAR ROW = VAR Income from other activities KVR = Small Fees Scheme

D��

H�� I �� ?

The DBA Act means the difference between a freelancer and a sole trader has become blurred. It is only clear whether the Tax Authority sees you as an entrepreneur when your Income Tax return has been submitted. If you meet the criteria (hours criterion of 1225 annually, at least three clients, entrepreneur’s risk, advertising) are you entitled to entrepreneur’s benefits such as self-employed and starter’s tax deductions.

Working as a contractor involves taking business and personal risks. Take out proper insurance, but weigh the risks you can and are prepared to take against the cost of the insurance premiums. Investigate the possibilities of a ‘bread fund’ collective in which you share your disability risk with colleagues.

31

P��

Income when you are ill, become disabled or reach pensionable age;

Insured in the event of illness or unemployment. Pension contributions.

Costs of illness, fire, theft, damage or accidents; Claims by third party as a result of professional negligence.

Not insured in the event of illness or unemployment. No pension contributions. ��

��

Golden triangle

CONTENTs

CONTENTs

FISCAL AND LEGAL: WHAT ARE THE IMPLICATIONS FOR ME? T��

32

N o t e s

There are various formalities you need to tale into account with regard to the existing regulations. One of these is tax legislation. Anyone with an income pays tax. If you are in paid employment, you pay your wage tax and as a contractor you pay income tax. With wage tax you receive a net wage. All your contributions are withheld and if there is no special situation such as alimony or mortgage you will not have to pay anything extra when you have filled in your tax return. As a contractor, you are paid gross and you have to put an amount to one side for your income tax. The Tax Authority will decide whether you are deemed to be an entrepreneur.

L�� Legal matters cover the agreements you make with each other or whether they have been laid down in law. Verbal agreements are also valid, although they are difficult to prove should a conflict arise. For this reason, always record any agreements you make with another party in writing. If there is any disagreement about agreements reconsider whether and what you might want from the other party in future. See the conflict handling model and think about which options exist.

O t h e r p e r s o n ’ s i n t e r e s t s

ACCOMODATING

yield cover up

COLLABORATING

confront NEGOTIATING

reach a compromise COMPETING AVOID

skirt around

fight push through coerce My interests

Conflict-handling model | free interpretation of Thomas Kilman

33

CONTENTs

CONTENTs

FISCAL AND LEGAL: WHAT ARE THE IMPLICATIONS FOR ME? T�� There are various formalities you need to tale into account with regard to the existing regulations. One of these is tax legislation. Anyone with an income pays tax. If you are in paid employment, you pay your wage tax and as a contractor you pay income tax. With wage tax you receive a net wage. All your contributions are withheld and if there is no special situation such as alimony or mortgage you will not have to pay anything extra when you have filled in your tax return. As a contractor, you are paid gross and you have to put an amount to one side for your income tax. The Tax Authority will decide whether you are deemed to be an entrepreneur.

32

N o t e s

33

L�� Legal matters cover the agreements you make with each other or whether they have been laid down in law. Verbal agreements are also valid, although they are difficult to prove should a conflict arise. For this reason, always record any agreements you make with another party in writing. If there is any disagreement about agreements reconsider whether and what you might want from the other party in future. See the conflict handling model and think about which options exist.

O t h e r p e r s o n ’ s i n t e r e s t s

ACCOMODATING

yield cover up

COLLABORATING

confront NEGOTIATING

reach a compromise COMPETING AVOID

skirt around

fight push through coerce My interests

Conflict-handling model | free interpretation of Thomas Kilman

CONTENTs

CONTENTs

C�� What you have made may not be used or abused by another person. Copyright was thought up to protect you as the creator of a piece of work. Image rights are the same as copyright. There are various organisations you can join, e.g. Buma Stemra and Pictoright. Joining means you will be paid and that you will be protected against misuse. Another way of protecting your work is through Creative Commons. You will not receive any remuneration but you can set out that your name will be mentioned when your work is used.

Most artists practice their profession as contractors. If you are in a collaboration between contractors you can choose to set up a partnership. You are then liable for each other. You do not need to go to a solicitor for this way of working, but remember to set down a number of matters. Artists often go for the legal entity option (a foundation or an association) if they intend to apply for a subsidy. If you want to apply for an individual subsidy, then you do not need a legal entity.

G�� A work of art may fall under different legislation, especially if it is the design of a utensil or product: the copyright, design right, patent law or sometimes even trademark law. Above all, if there is a great chance of imitation or there are major financial interests at stake, filing the model and brand or - depending on the circumstances - even a patent could be considered. In terms of evidence, as well as if functionality plays a key role, these laws provide more certainty than copyright.

L�� 34

As an artist you may have to deal with liability. Liability covers damage and mandatory damages compensation for damage caused by unlawful conduct. You may be held liable for causing damage to another person. It might concern personal injury or material damage. It does not need to involve any intent. You can take out corporate liability insurance against this eventuality. Be aware that your personal third party insurance does not apply to a work situation.

L�� When starting a company or professional practice you need to choose a legal form. This has consequences for your personal liability, how you pay your tax, profit-sharing, funding ad so on. There are two legal forms: without legal personality (natural persons) and with legal personality (so-called legal entities). Under the former we find the sole trade, the general partnership and the partnership, and under the latter category we have the foundation, the association and the limited company. The greatest difference is the liability.

In the cultural field it is customary to set up a foundation as soon as public money becomes part of the revenue model. Having a legal entity is a condition for being allowed to receive this public money. The extent of these foundations varies enormously. In practice, foundations are set up in different ways. The common factor is that there is always an executive board and that the board is liable. You will be able to find frameworks to gain insight into the liabilities and authorities in the Governance Code Cultuur. Take out of the code whatever suits your organisation. The use of the code is usually a condition for a subsidy to be awarded.

35

N o t e s

CONTENTs

CONTENTs

C�� What you have made may not be used or abused by another person. Copyright was thought up to protect you as the creator of a piece of work. Image rights are the same as copyright. There are various organisations you can join, e.g. Buma Stemra and Pictoright. Joining means you will be paid and that you will be protected against misuse. Another way of protecting your work is through Creative Commons. You will not receive any remuneration but you can set out that your name will be mentioned when your work is used.

Most artists practice their profession as contractors. If you are in a collaboration between contractors you can choose to set up a partnership. You are then liable for each other. You do not need to go to a solicitor for this way of working, but remember to set down a number of matters. Artists often go for the legal entity option (a foundation or an association) if they intend to apply for a subsidy. If you want to apply for an individual subsidy, then you do not need a legal entity.

G�� A work of art may fall under different legislation, especially if it is the design of a utensil or product: the copyright, design right, patent law or sometimes even trademark law. Above all, if there is a great chance of imitation or there are major financial interests at stake, filing the model and brand or - depending on the circumstances - even a patent could be considered. In terms of evidence, as well as if functionality plays a key role, these laws provide more certainty than copyright.

L�� As an artist you may have to deal with liability. Liability covers damage and mandatory damages compensation for damage caused by unlawful conduct. You may be held liable for causing damage to another person. It might concern personal injury or material damage. It does not need to involve any intent. You can take out corporate liability insurance against this eventuality. Be aware that your personal third party insurance does not apply to a work situation.

34

In the cultural field it is customary to set up a foundation as soon as public money becomes part of the revenue model. Having a legal entity is a condition for being allowed to receive this public money. The extent of these foundations varies enormously. In practice, foundations are set up in different ways. The common factor is that there is always an executive board and that the board is liable. You will be able to find frameworks to gain insight into the liabilities and authorities in the Governance Code Cultuur. Take out of the code whatever suits your organisation. The use of the code is usually a condition for a subsidy to be awarded.

35

N o t e s

L�� When starting a company or professional practice you need to choose a legal form. This has consequences for your personal liability, how you pay your tax, profit-sharing, funding ad so on. There are two legal forms: without legal personality (natural persons) and with legal personality (so-called legal entities). Under the former we find the sole trade, the general partnership and the partnership, and under the latter category we have the foundation, the association and the limited company. The greatest difference is the liability.

I N T E R V I E W

C��+O�� . T�� . F�� , �� -��.��/��.

“As an artist, it is essential to discover new perspectives”, Mayumi Nakazaki explains. She has just completed a mentoring programme with documentary maker John Appel. The meetings are also relevant for him: “Concentrating on somebody else forces me to think very carefully.”

ONE-ON-ONE As an experienced filmmaker, Appel has been a mentor on the Cultuur+Ondernemen programme for around five years. I am usually very hands-on in helping novice filmmakers with, say, developing scripts or editing their film.” He believes that the one-to-one set-up of scheduled meetings works well. “This way you are really focused. Otherwise there would be too little commitment and you’d lose focus.”

36

( � � � MV � B � �� . � � � �� B � �� Y � � � � � �� M � �� .� � � � �� E �� ) � � � S . �� N � � � � � � �� P � B � � �� ( � � � � � � � � � � � � �� .� � � �� ( � � � � � � ( � � - � � � � �� . � � � -� .�� . � � � � � . � � � � � � � � � � ) � . J � � �� ) � � � � � � � � . A - � � � � � � ) � D � � � � � CONTENTs

With Nakazaki though, John took a different approach. “The programme with Mayumi was an unusual one. We held inspiration meetings; we would write down sentences and terms on a large white sheet of paper that we had spread out on the table.” It was useful for him too. It inspired him to search for something and examine things so that he could forward them to Mayami.

37

For Nakazaki, more focused on fiction and visual art, the documentary maker was a deliberate choice. “When you are starting out as an artist, you go looking for ways in which you will be able to work. There comes a time that you get into a fixed pattern, so it is great if someone comes along and opens new doors for you. I would often stay in my comfort zone but John opened it up for me.”


“I would often stay in my comfort zone but John opened it up for me.”

CONTENTs

I N T E R V I E W

C��+O�� . T�� . F�� , �� -��.��/��.

“As an artist, it is essential to discover new perspectives”, Mayumi Nakazaki explains. She has just completed a mentoring programme with documentary maker John Appel. The meetings are also relevant for him: “Concentrating on somebody else forces me to think very carefully.”

ONE-ON-ONE As an experienced filmmaker, Appel has been a mentor on the Cultuur+Ondernemen programme for around five years. I am usually very hands-on in helping novice filmmakers with, say, developing scripts or editing their film.” He believes that the one-to-one set-up of scheduled meetings works well. “This way you are really focused. Otherwise there would be too little commitment and you’d lose focus.” With Nakazaki though, John took a different approach. “The programme with Mayumi was an unusual one. We held inspiration meetings; we would write down sentences and terms on a large white sheet of paper that we had spread out on the table.” It was useful for him too. It inspired him to search for something and examine things so that he could forward them to Mayami.

36

( � � � MV � B � �� . � � � � � � � � � � �� B � � � �� Y � � � � � �� M � �� .� � � � �� E � � � ) � � � S . �� N � � � � � � � � � � � � � � �� P B � � �� ( � � � � � � �� .� � � � � � � � ( � � � � � � � � ( � � - � � � � �� . -� � � � � � .�� .�� .� � � � � � � � � � � ) � . J � � �� ) � � � � � � � � . A - � � � � � � ) � � D � � � � -

For Nakazaki, more focused on fiction and visual art, the documentary maker was a deliberate choice. “When you are starting out as an artist, you go looking for ways in which you will be able to work. There comes a time that you get into a fixed pattern, so it is great if someone comes along and opens new doors for you. I would often stay in my comfort zone but John opened it up for me.”


“I would often stay in my comfort zone but John opened it up for me.”

CONTENTs

I N T E R V I E W

37

CONTENTs

C��+O�� . A� �� M�� E��, C�� S�� T�� . F�� , �� -��.��/��.

“Our first documentary, Vogel Vrij, has just gone into production”, says a proud Nienke Korthof. We have just finished our first day of shooting. Together with Willem Baptist, she was allocated the Talent Loan for their film production company Tangerine Tree. They borrow money at a low interest rate of three percent and a repayment period of maximum five years. Korthof: “We are a creative company. The chances of getting a loan from a bank are remote in the current climate. Thanks to this capital, we can start out as a healthy company right away.”

YOUR OWN STARTUP CAPITAL Herself a producer, Korthof met director Baptist while they were working together on one of his films. They started Tangerine Tree because they missed the space for a crossover between documentary and visual art. All three productions, two of which are under development and one which has just gone into production can be found on their website, which has been live since April. 38

39

C W B ( � M N � � � � � � � � � � � � � � � � � � � � �� . � � � � � � �� K � B � �� + � � B O � � � � � � Y � � � � � � � � �� E � � �� .�� S � �� . � � � � � � ) � � � � � �� P � � �� B � � � � � � � � � � � �� ( � � ( � �- �� T . � � .� �� T � �� .� �� T � � �� ) � � �. � � � � � � � � � � � � � � � � �� .� - � � �� ) � � D � � � CONTENTs

“As producers, we appeal to various funds”, says Korthof. “For instance, Vogel Vrij (Free as a Bird) is being produced as part of Teledoc Campus, funded by the Netherlands Film Fund, CoBO and the NPO.” She says that funds have one drawback: the payment is made in instalments. “The greatest pressure on the expenditure for a film often comes during the production phase. It is therefore difficult if you receive 25 percent of the money when you have to spend 50% of it.” The Talent Loan is a solution for those people who don’t have their own startup capital. Korthof and Baptist quickly had the money they needed to be able to launch production. “Thanks to the loan we immediately had a cash flow so we were able to pay the incoming bills on time.” Read the full interview on cultuur-ondernemen.nl/zakelijke-gids

“Thanks to this capital, we can start out as a healthy company right away.” © Maarten van Haaff

CONTENTs

I N T E R V I E W

C��+O�� . A� �� M�� E��, C�� S�� T�� . F�� , �� -��.��/��.

“Our first documentary, Vogel Vrij, has just gone into production”, says a proud Nienke Korthof. We have just finished our first day of shooting. Together with Willem Baptist, she was allocated the Talent Loan for their film production company Tangerine Tree. They borrow money at a low interest rate of three percent and a repayment period of maximum five years. Korthof: “We are a creative company. The chances of getting a loan from a bank are remote in the current climate. Thanks to this capital, we can start out as a healthy company right away.”

YOUR OWN STARTUP CAPITAL Herself a producer, Korthof met director Baptist while they were working together on one of his films. They started Tangerine Tree because they missed the space for a crossover between documentary and visual art. All three productions, two of which are under development and one which has just gone into production can be found on their website, which has been live since April. 38

39

C W B ( � M N � � � � � � � � � � � � � �� .� � � � � � �� K � B � �� + � � � � B O � � � � � Y � � � � � � � � � �� E � � � � � � � � � � � � � � .�� S � �� . � � � � � � ) � � � � � � �� P � �� B � � � � � � � � � � � �� ( � � ( � �- �� . � T � .� �� T � �� .� �� T �� ) � �. � � � � � � � � � �� . - � � � � �� ) � D � � � -

“As producers, we appeal to various funds”, says Korthof. “For instance, Vogel Vrij (Free as a Bird) is being produced as part of Teledoc Campus, funded by the Netherlands Film Fund, CoBO and the NPO.” She says that funds have one drawback: the payment is made in instalments. “The greatest pressure on the expenditure for a film often comes during the production phase. It is therefore difficult if you receive 25 percent of the money when you have to spend 50% of it.” The Talent Loan is a solution for those people who don’t have their own startup capital. Korthof and Baptist quickly had the money they needed to be able to launch production. “Thanks to the loan we immediately had a cash flow so we were able to pay the incoming bills on time.” Read the full interview on cultuur-ondernemen.nl/zakelijke-gids

“Thanks to this capital, we can start out as a healthy company right away.” © Maarten van Haaff

CONTENTs

CONTENTs

CONTENTs CONTENTs

CONTENTs

USEFUL SOURCES Cultuur+Ondernemen You can ask Cultuur+Ondernemen questions about the business aspects of your professional practice. From funding your project to filling in your tax return and discussing your career to following training courses. Request a free orientation interview. Visit our website for more information about our products, services and projects. w www.cultuur-ondernemen.nl e [email protected] t +31 (0)20 535 25 00

40

cultuur-ondernemen.nl Information about and from Cultuur+Ondernemen www.sectorplancultuur.nl Discount on training offers www.beroepkunstenaar.nl Information and tips on professional practice www.galeries.nl List of galleries at home and abroad Contemporary art platform www.artolive.nl Platform for the promotion, lending and sales of contemporary art in the Netherlands www.archined.nl Architecture site of the Netherlands www.filmstart.nl Information for film and television makers www.photoq.nl Information photographers www.schrijvenonline.org Information for writers www.nederlandsmuziekinstituut.nl Information for musicians + search function www.htnk.nl About working in the world of fashion www.modint.nl Entrepreneurs’ organisation for fashion, interior design and textiles www.mediamatic.net Platform for new media www.hetnieuweinstituut.nl for design and innovation www.exto.nl Free website for visual artists; community www.eportfolio.eu ePortfolio possibilities www.kunstinzicht.nl Digital advert per discipline www.vpt.nl Association of theatre designers

Funding: www.cultuur-ondernemen.nl Cultural loans, Talent loans, regional loans www.fondscultuurfinanciering.nl Low-interest loans for the cultural sector www.vermogensfondsen.startpagina.nl summary of the most important funds www.mondriaanfonds.nl Cultural fund for visual arts and design www.stimuleringsfonds.nl Cultural fund for architecture, design, e-culture and all possible crossovers www.fondspodiumkunsten.nl Cultural fund for music, musical theatre, dance, theatre and festivals www.cultuurparticipatie.nl Cultural participation fund www.filmfonds.nl Dutch Film fund www.fondskwadraat.nl Loans for visual artists and designers; www.stokroos.nl Financial support and coaching www.letterenfonds.nl Fund for the Dutch and Frisian literature www.versfilmentv.nl Association of New Film and Television makers www.triodos.nl Triodos Bank, Cultural loan for artists, musicians, designers and cultural institutes

Entrepreneurship: www.belastingdienst.nl Dutch Tax Authority www.de-eigen-zaak.nl An advice shop for fulltime and part time entrepreneurs www.kvk.nl Chamber of Commerce www.mkb.nl Small and Medium-sized Enterprise branch organisation www.stew.nl Advice and training for entrepreneurs and small businesses www.sprout.nl For novice entrepreneurs www.higherlevel.nl Platform for novice, innovative entrepreneurs www.pzo.zzp.nl Platform for contractors www.allarts.nl Tax consultants for the arts www.amsterdameconomicboard.com Support for the creative industry in Amsterdam www.creatiefzuid.nl Support for the creative industry in North Brabant and Limburg www.ondernemersplein.nl Government information for novice entrepreneurs www.zzp-nederland.nl platform for contractors www.meijers.nl Insurance for Artists

Abroad: www.wilweg.nl Study or internship abroad; www.dutchculture.nl Centre for international cooperation www.rvo.nl about doing business at home and abroad www.a-n.co.uk Artist Information Company

Legal: www.auteursrecht.nl General site about copyright with links www.governancecodecultuur.nl Cultural Governance Code plus toolkit www.creativecommons.nl Dealing flexibly with copyright www.notaris.nl About matters that you arrange with a solicitor, legal forms etc.

41

CONTENTs CONTENTs

CONTENTs

USEFUL SOURCES Cultuur+Ondernemen You can ask Cultuur+Ondernemen questions about the business aspects of your professional practice. From funding your project to filling in your tax return and discussing your career to following training courses. Request a free orientation interview. Visit our website for more information about our products, services and projects. w www.cultuur-ondernemen.nl e [email protected] t +31 (0)20 535 25 00

40

cultuur-ondernemen.nl Information about and from Cultuur+Ondernemen www.sectorplancultuur.nl Discount on training offers www.beroepkunstenaar.nl Information and tips on professional practice www.galeries.nl List of galleries at home and abroad Contemporary art platform www.artolive.nl Platform for the promotion, lending and sales of contemporary art in the Netherlands www.archined.nl Architecture site of the Netherlands www.filmstart.nl Information for film and television makers www.photoq.nl Information photographers www.schrijvenonline.org Information for writers www.nederlandsmuziekinstituut.nl Information for musicians + search function www.htnk.nl About working in the world of fashion www.modint.nl Entrepreneurs’ organisation for fashion, interior design and textiles www.mediamatic.net Platform for new media www.hetnieuweinstituut.nl for design and innovation www.exto.nl Free website for visual artists; community www.eportfolio.eu ePortfolio possibilities www.kunstinzicht.nl Digital advert per discipline www.vpt.nl Association of theatre designers

Funding: www.cultuur-ondernemen.nl Cultural loans, Talent loans, regional loans www.fondscultuurfinanciering.nl Low-interest loans for the cultural sector www.vermogensfondsen.startpagina.nl summary of the most important funds www.mondriaanfonds.nl Cultural fund for visual arts and design www.stimuleringsfonds.nl Cultural fund for architecture, design, e-culture and all possible crossovers www.fondspodiumkunsten.nl Cultural fund for music, musical theatre, dance, theatre and festivals www.cultuurparticipatie.nl Cultural participation fund www.filmfonds.nl Dutch Film fund www.fondskwadraat.nl Loans for visual artists and designers; www.stokroos.nl Financial support and coaching www.letterenfonds.nl Fund for the Dutch and Frisian literature www.versfilmentv.nl Association of New Film and Television makers www.triodos.nl Triodos Bank, Cultural loan for artists, musicians, designers and cultural institutes

Entrepreneurship:

41

www.belastingdienst.nl Dutch Tax Authority www.de-eigen-zaak.nl An advice shop for fulltime and part time entrepreneurs www.kvk.nl Chamber of Commerce www.mkb.nl Small and Medium-sized Enterprise branch organisation www.stew.nl Advice and training for entrepreneurs and small businesses www.sprout.nl For novice entrepreneurs www.higherlevel.nl Platform for novice, innovative entrepreneurs www.pzo.zzp.nl Platform for contractors www.allarts.nl Tax consultants for the arts www.amsterdameconomicboard.com Support for the creative industry in Amsterdam www.creatiefzuid.nl Support for the creative industry in North Brabant and Limburg www.ondernemersplein.nl Government information for novice entrepreneurs www.zzp-nederland.nl platform for contractors www.meijers.nl Insurance for Artists

Abroad: www.wilweg.nl Study or internship abroad; www.dutchculture.nl Centre for international cooperation www.rvo.nl about doing business at home and abroad www.a-n.co.uk Artist Information Company

Legal: www.auteursrecht.nl General site about copyright with links www.governancecodecultuur.nl Cultural Governance Code plus toolkit www.creativecommons.nl Dealing flexibly with copyright www.notaris.nl About matters that you arrange with a solicitor, legal forms etc.

CONTENTs

CONTENTs

Also useful:

Social Media:

• • • • •

• • • • • • • •

• • • • • •

www.rijksoverheid.nl List of all ministries and government institutions www.federatiecultuur.nl Federation of employer associations in culture

Facebook International social network site Twitter Communicate in 140 characters LinkedIn Business network site Instagram Communicate in images Pinterest Digital pinboard for images MySpace International social network site YouTube Communicate with video clips Vimeo Communicate with video clips

Books:

42

• Artiest en recht, Kluwer (annual publication) • Auteursrecht voor ontwerpers, mr. Vincent van den Eijnde and mr. Anouk Siegelaar (BNO) • Fondsenboek, Walburg Pers (annual publication) • Fondsendisk, Walburg Pers (annual publication) • Cultuurbeleid, Reed Business Media • Handboek Zelfstandigen, Tijs van den Boomen • Zzp belastinggids, Wilma van Hoeflaken • Startersgids voor zzp-ers, Rinske Jansen • Handboek Ondernemen van de Belastingdienst (free) via www.belastingdienst.nl and search for 'handboek ondernemen' • Handboek van de Nederlandse Pers en Publiciteit, Nijgh Periodieken (annual publication) • Handboek voor het opzetten van een Ontwerppraktijk, Kitty de Jong e.a. (BNO) • Handboek voor schrijvers, Maaike Molhuysen • Wegwijzer voor scenarioschrijvers, Wim Blaauboer • Kluwer Belastinggids, Kluwer (annual publication) • Landelijke Algemene Voorwaarden Kunstopdrachten (LAVK), download via www.cultuur-ondernemen.nl • Handleiding Aangifte Inkomstenbelasting download via www.cultuur-ondernemen.nl' • Muzikantengids, Jan van der Plas, Django Music • Podiumkunst Almanak, via www.em-cultuur.nl • Musiconomie, Ton Lamers (handbook for musicians) • Business Modelling, Alexander Osterwalder

Periodicals and newsletters: • BK-informatie (www.bk-info.nl) • Alert Galerie Agenda • Beelden Magazine, information bulletin about sculpture

Dude! (www.bno.nl/dude) Trendbeheer.com, digital periodical Schrijven (www.schrijvenonline.org) Dans Magazine TM Theatermaker Magazine, theatre, music and dance magazine (www.theaterkrant.nl) OOR (www.oor.nl) kM, magazine about artists’ materials (www.kunstenaarsmateriaal.nl). Boekman Magazine, about trends in the cultural sector (www.boekman.nl/ boekman-magazine) Lost-painters.nl, online magazine for contemporary art Mister Motley, magazine about visual art and life (www.mistermotley.nl/). www.fijnefestival.tips, blog about everything that makes a festival great

There are all sorts of glossy magazine that will help you get orientated on the sales market, e.g. Items (design), Metropolis M, Vitrine, Open and Alert. Subscribe together. Don’t forget to research the regional schemes and newsletters. A lot of authorities (councils, provinces, ministries and Europe) have developed their own and other grants and projects for artists. Sign up for digital newsletters such as Cultuur+Ondernemen, Amsterdams Fonds voor de Kunst (Amsterdam Art Fund), Centres for Visual Arts (CBKs), Mondriaan Fund, FNV Kiem, Zichtlijnen, Museums.

43

CONTENTs

CONTENTs

Also useful:

Social Media:

• • • • •

• • • • • • • •

• • • • • •

www.rijksoverheid.nl List of all ministries and government institutions www.federatiecultuur.nl Federation of employer associations in culture

Facebook International social network site Twitter Communicate in 140 characters LinkedIn Business network site Instagram Communicate in images Pinterest Digital pinboard for images MySpace International social network site YouTube Communicate with video clips Vimeo Communicate with video clips

Books:

42

• Artiest en recht, Kluwer (annual publication) • Auteursrecht voor ontwerpers, mr. Vincent van den Eijnde and mr. Anouk Siegelaar (BNO) • Fondsenboek, Walburg Pers (annual publication) • Fondsendisk, Walburg Pers (annual publication) • Cultuurbeleid, Reed Business Media • Handboek Zelfstandigen, Tijs van den Boomen • Zzp belastinggids, Wilma van Hoeflaken • Startersgids voor zzp-ers, Rinske Jansen • Handboek Ondernemen van de Belastingdienst (free) via www.belastingdienst.nl and search for 'handboek ondernemen' • Handboek van de Nederlandse Pers en Publiciteit, Nijgh Periodieken (annual publication) • Handboek voor het opzetten van een Ontwerppraktijk, Kitty de Jong e.a. (BNO) • Handboek voor schrijvers, Maaike Molhuysen • Wegwijzer voor scenarioschrijvers, Wim Blaauboer • Kluwer Belastinggids, Kluwer (annual publication) • Landelijke Algemene Voorwaarden Kunstopdrachten (LAVK), download via www.cultuur-ondernemen.nl • Handleiding Aangifte Inkomstenbelasting download via www.cultuur-ondernemen.nl' • Muzikantengids, Jan van der Plas, Django Music • Podiumkunst Almanak, via www.em-cultuur.nl • Musiconomie, Ton Lamers (handbook for musicians) • Business Modelling, Alexander Osterwalder

Dude! (www.bno.nl/dude) Trendbeheer.com, digital periodical Schrijven (www.schrijvenonline.org) Dans Magazine TM Theatermaker Magazine, theatre, music and dance magazine (www.theaterkrant.nl) OOR (www.oor.nl) kM, magazine about artists’ materials (www.kunstenaarsmateriaal.nl). Boekman Magazine, about trends in the cultural sector (www.boekman.nl/ boekman-magazine) Lost-painters.nl, online magazine for contemporary art Mister Motley, magazine about visual art and life (www.mistermotley.nl/). www.fijnefestival.tips, blog about everything that makes a festival great

There are all sorts of glossy magazine that will help you get orientated on the sales market, e.g. Items (design), Metropolis M, Vitrine, Open and Alert. Subscribe together. Don’t forget to research the regional schemes and newsletters. A lot of authorities (councils, provinces, ministries and Europe) have developed their own and other grants and projects for artists.

43

Sign up for digital newsletters such as Cultuur+Ondernemen, Amsterdams Fonds voor de Kunst (Amsterdam Art Fund), Centres for Visual Arts (CBKs), Mondriaan Fund, FNV Kiem, Zichtlijnen, Museums.

Periodicals and newsletters: • BK-informatie (www.bk-info.nl) • Alert Galerie Agenda • Beelden Magazine, information bulletin about sculpture

CONTENTs

CONTENTs

111 TIPS

17.

18.

Entrepreneurship 1.

2. 3. 4.

5. 44

6. 7. 8. 9. 10. 11. 12. 13.

14. 15. 16.

At cultuur-ondernemen.nl you will find a summary of what Cultuur+Ondernemen has to offer you. Would you like to get started with the contents of the Business Guide? If so, organise a workshop with colleagues or graduates through your academy or university. Subscribe to the Cultuur+Ondernemen newsletter via cultuur-ondernemen.nl. As a novice entrepreneur, visit the Chamber of Commerce’s website. They provide information for starters. kvk.nl . If you need advice from an expert, ask your colleagues, family, or acquaintances and/or friends whether they know of anyone. You don’t need to figure it all out yourself. It is often wise to get help from an expert who can save you from wasting a lot of time. See what happens elsewhere. For instance, in Chicago there is an active organisation that runs a website presenting information and experiences as well as supply and demand. chicagoartistsresource.org . Or closer to home visit Trendbeheer.com for artists. The Exhibitionist.nl has an overview of major openings/exhibitions and galleries in the Netherlands. If you are a musician keep an eye on Open Mike Nights on stages around the country. These attract big audiences (and tv/radio) e.g. De Vorstin in Hilversum devorstin.nl . Read Metropolis M to keep up in your profession as an artist and to find out what is going on in the national and international art discourse. Follow the theaterkrant.nl and read the TheaterMaker to keep abreast of what is happening in the performing arts. Business Model You: combining heart, head and trouser pocket. How am I going to earn money? Remember cultuur-ondernemen.nl for workshops! Make sure your keep up to date with developments in the cultural sector via cultureelpersbureau.nl . The training offering provides a range of opportunities to develop your skills in the area of project management or entrepreneurship. Visit cultuur-ondernemen.nl for a list of our training courses. A customised training course for your incubator, studio complex or at an alumni day? Get in touch with Cultuur+Ondernemen . Visit slideshare.net for presentations from people from around the world. Provides interesting information and examples about business. Follow TEDx in different cities, including international. Interesting speakers who point out new trends. You can review them at tedx.com .

Three marketing tips from Simon Sinek http://blog.hubspot.com/customers/3-takeaways-from-start-with-why . A clear explanation of Simo Sinek’s Golden Circle http://kevinweijers.nl/de-golden-circle/#more-212 . Watch and listen to the lessons of colleagues in the knowledge clips about matching with an investor, company or collaboration partner. www.bridgingthegapholland.nl .

Career 19. 20.

21.

22.

23.

24. 25.

26. 27. 28.

29. 30. 31.

32. 33.

Give your career a boost with a 1.5 hour talk with a coach. Cultuur+Ondernemen has an extensive network of coaches. At cultuur-ondernemen.nl you can find information about the various forms of guidance such as coaching of mentoring. New offerings are regularly developed. Subscribe to the newsletter and you’ll keep up to date. Work with an role model in mind. Who can help me take steps forward and how can I get in contact with my role model? Check out the mentors that collaborate with Cultuur+Ondernemen and sign up for a programme. To put your creativity effectively to good use, both in terms of content and business-wise, you can follow a mentoring programme with Cultuur+Ondernemen. Every advice or coaching programme is customised: an appropriate consultant is matched to your specific request and need, cultuur-ondernemen.nl . Include all of your qualities in your portfolio or LinkedIn profile. You might have experience as a sports coach working with children, foreign languages or perhaps you also took a course outside the arts. Find your sparring partners inside and outside your own circle. Do you want to learn from your own great role model? See whether you can arrange an apprenticeship. Information via sectorplancultuur.nl or cultuur-ondernemen.nl/leerwerkplekken . Make use of the entrepreneurship training opportunities via cultuur-ondernemen.nl/sectorplan-cultuur . Exchange views with colleagues. Intervisie is an organised way of discussing things in a group. The business site intermediair.nl has handy tips on applying for jobs. Visit culturele-vacatures.nl for jobs in the cultural sector. Also for part time jobs that suit your mixed professional practice, or internships or apprenticeships to gain experience. A handy site with information and inspiration for guiding your career is carrieretijger.nl . Check Wikipedia for a summary of all art prices in the Netherlands. Take a training course to increase your knowledge and skills. You will also meet other artists who are facing the same issues as you. There are training courses on various topics for artists and creatives from all disciplines in every phase of your career. Research what your arts education could mean in the way of courses for graduates. Make enquiries about other offerings at unions or professional organisations.

45

CONTENTs

CONTENTs

111 TIPS

17.

18.

Entrepreneurship 1.

2. 3. 4.

5. 44

6. 7. 8. 9. 10. 11. 12. 13.

14. 15. 16.

At cultuur-ondernemen.nl you will find a summary of what Cultuur+Ondernemen has to offer you. Would you like to get started with the contents of the Business Guide? If so, organise a workshop with colleagues or graduates through your academy or university. Subscribe to the Cultuur+Ondernemen newsletter via cultuur-ondernemen.nl. As a novice entrepreneur, visit the Chamber of Commerce’s website. They provide information for starters. kvk.nl . If you need advice from an expert, ask your colleagues, family, or acquaintances and/or friends whether they know of anyone. You don’t need to figure it all out yourself. It is often wise to get help from an expert who can save you from wasting a lot of time. See what happens elsewhere. For instance, in Chicago there is an active organisation that runs a website presenting information and experiences as well as supply and demand. chicagoartistsresource.org . Or closer to home visit Trendbeheer.com for artists. The Exhibitionist.nl has an overview of major openings/exhibitions and galleries in the Netherlands. If you are a musician keep an eye on Open Mike Nights on stages around the country. These attract big audiences (and tv/radio) e.g. De Vorstin in Hilversum devorstin.nl . Read Metropolis M to keep up in your profession as an artist and to find out what is going on in the national and international art discourse. Follow the theaterkrant.nl and read the TheaterMaker to keep abreast of what is happening in the performing arts. Business Model You: combining heart, head and trouser pocket. How am I going to earn money? Remember cultuur-ondernemen.nl for workshops! Make sure your keep up to date with developments in the cultural sector via cultureelpersbureau.nl . The training offering provides a range of opportunities to develop your skills in the area of project management or entrepreneurship. Visit cultuur-ondernemen.nl for a list of our training courses. A customised training course for your incubator, studio complex or at an alumni day? Get in touch with Cultuur+Ondernemen . Visit slideshare.net for presentations from people from around the world. Provides interesting information and examples about business. Follow TEDx in different cities, including international. Interesting speakers who point out new trends. You can review them at tedx.com .

Three marketing tips from Simon Sinek http://blog.hubspot.com/customers/3-takeaways-from-start-with-why . A clear explanation of Simo Sinek’s Golden Circle http://kevinweijers.nl/de-golden-circle/#more-212 . Watch and listen to the lessons of colleagues in the knowledge clips about matching with an investor, company or collaboration partner. www.bridgingthegapholland.nl .

Career 19. 20.

21.

22.

23.

24. 25.

26. 27. 28.

29. 30. 31.

32. 33.

Give your career a boost with a 1.5 hour talk with a coach. Cultuur+Ondernemen has an extensive network of coaches. At cultuur-ondernemen.nl you can find information about the various forms of guidance such as coaching of mentoring. New offerings are regularly developed. Subscribe to the newsletter and you’ll keep up to date. Work with an role model in mind. Who can help me take steps forward and how can I get in contact with my role model? Check out the mentors that collaborate with Cultuur+Ondernemen and sign up for a programme. To put your creativity effectively to good use, both in terms of content and business-wise, you can follow a mentoring programme with Cultuur+Ondernemen. Every advice or coaching programme is customised: an appropriate consultant is matched to your specific request and need, cultuur-ondernemen.nl . Include all of your qualities in your portfolio or LinkedIn profile. You might have experience as a sports coach working with children, foreign languages or perhaps you also took a course outside the arts. Find your sparring partners inside and outside your own circle. Do you want to learn from your own great role model? See whether you can arrange an apprenticeship. Information via sectorplancultuur.nl or cultuur-ondernemen.nl/leerwerkplekken . Make use of the entrepreneurship training opportunities via cultuur-ondernemen.nl/sectorplan-cultuur . Exchange views with colleagues. Intervisie is an organised way of discussing things in a group. The business site intermediair.nl has handy tips on applying for jobs. Visit culturele-vacatures.nl for jobs in the cultural sector. Also for part time jobs that suit your mixed professional practice, or internships or apprenticeships to gain experience. A handy site with information and inspiration for guiding your career is carrieretijger.nl . Check Wikipedia for a summary of all art prices in the Netherlands. Take a training course to increase your knowledge and skills. You will also meet other artists who are facing the same issues as you. There are training courses on various topics for artists and creatives from all disciplines in every phase of your career. Research what your arts education could mean in the way of courses for graduates. Make enquiries about other offerings at unions or professional organisations.

CONTENTs

CONTENTs

34. How about getting started as an artist in education? Professional artist in Class. Go to info.bikopleiding.nl for information on the course. 35. Google ‘Community Art’ and ‘social artistic projects’, to discover even more opportunities to use your talents. 36. What could you do if you realise that the public would like to participate in an experience? 37. Look far and wide and keep your eye on trends. What opportunities do they present you with? 38. Watch out for developments in the media at home and abroad. Attend meetings at Pakhuis De Zwijger, Spui 25 and other venues. 39. Have you got a plan for a project that explores the relationship between art and the community? Visit theartofimpact.nl . 40. Are you interested in the experiences of other artists starting out? Read the interviews at cultuur-ondernemen.nl with six artists from the guide for inspiration, recognition and motivation.

54. It is really important to have your own website. You can do this for free and simply at for example exto.nl (especially for artists) or via wordpress.com . 55. Etsy.com is a platform for presenting handicraft products/creations. 56. Did you know that the Netherlands is home to the best app builders in Europe? Who knows, maybe this could be your break. 57. Would you like to work with local residents to bring about change in a neighbourhood? Check out Cultuur+Ondernemen’s projects. 58. Take part in rituals in cemeteries around Hallowe’en: allerzielenalom.nl . 59. Search for Cultuur-Ondernemen on YouTube to see clips of projects outside the regular arts sector. 60. Get acquainted with work in other domains via colleagues who went before you. Follow the series of meetings via www.cultuur-ondernemen.nl/reeks-werken-inandere-domeinen-1 .

Money 61.

Market 41. 46

45

42. 43. 44. 45. 46.

47. 48.

49. 50. 51. 52. 53.

Present yourself in as few words as possible or an elevator pitch. This can be regularly used on assignments as a selection tool. Guidelines for prices are not permitted. What are known as cartel agreements are not allowed under competition law. The website beroepkunstenaar.nl provides useful information about the business aspects of your work. Visit a-n.co.uk for the network activities that they organise and lots of inspiring stories of artists’ experiences. To ascertain your worth, use Alexander Osterwalder’s Value Proposition Canvas. Download for free via businessmodelgeneration.com/canvas/vpc . Get to know more about the festival world. The Netherlands hosts more than 900 festivals. For example, more than 400 artists work at Mysteryland. Visit fijnefestival.tips for ideas or strtfstvl.nl for information on street festivals. Draw up a ‘wish list’ of goals and tasks; check regularly how much you have achieved. Use Facebook, LinkedIn, Instagram, Pinterest and MySpace. Be aware of how visible you are on social media. Nothing is private any more. For the latest developments in social media, follow frankwatching.com or mediamatic.net . Cultuur+Ondernemen has regular calls for artists to carry out assignments in healthcare, at events or in companies. Visit Creativity+Business. Network meetings and workshops for de music sector. musicmotion.nl Think about direct and indirect customers. For instance students you would like to reach while their school is your client. Get inspired by innovative ideas at www.theblueeconomy.org/innovations.html . Lots of opportunities for creative thinkers. Every year, Tilburg hosts the Day of the Emerging Artist, organised by Kunstpodium T in partnership with De Pont. Meet people involved with funds, presentation spots, art initiatives and, of course, artists.

62. 63. 64.

65. 66. 67. 68. 69. 70. 71. 72.

73.

Aunt Agatha scheme or venture capital is an attractive fiscal regulation for lending money to you as an artist starting out. You will find information about collective bargaining agreements in the arts at fnv-kiem.nl . When you are an entrepreneur, there are different funding options open to you. Read about them at beroepkunstenaar.nl under financial matters (geldzaken). To professionalise your artist’s practice, Cultuur+Ondernemen offers a range of funding opportunities. The training programmes also include financing workshops which you can find at cultuur-ondernemen.nl . You can use the Talent Loan if you would like to invest in the next stage of your talent development. Visit our website. You can also take out a loan if you would like to invest in your professional practice Think about the purchase of equipment or taking a course. Especially for artists, there are various possibilities for borrowing up to €40,000 which couldn’t go to a bank for. Visit cultuur-ondernemen.nl . In the case of regional loans, e.g. in Amsterdam and Utrecht, you get substantial discount on training and guidance when you take out a loan. For the possibility of regional loans, visit utrechtsecultuurlening.nl , amsterdamsecultuurlening.nl or bkkc.nl if you’re in Brabant. A loan offers more freedom than a subsidy. Remember though, you always have to repay a loan. Work out how you are going to do so beforehand. Borrowing costs money. When you take out a loan, you take on responsibility. Reflect upon this beforehand. Low-interest loans in the cultural sector usually go through the Cultuur+Financiering Fund, which was set up by Cultuur+Ondernemen. Visit fondscultuurfinanciering.nl . For large loans, Cultuur+Ondernemen works in partnership with Triodos Bank. Visit triodos.nl .

47

CONTENTs

CONTENTs

34. How about getting started as an artist in education? Professional artist in Class. Go to info.bikopleiding.nl for information on the course. 35. Google ‘Community Art’ and ‘social artistic projects’, to discover even more opportunities to use your talents. 36. What could you do if you realise that the public would like to participate in an experience? 37. Look far and wide and keep your eye on trends. What opportunities do they present you with? 38. Watch out for developments in the media at home and abroad. Attend meetings at Pakhuis De Zwijger, Spui 25 and other venues. 39. Have you got a plan for a project that explores the relationship between art and the community? Visit theartofimpact.nl . 40. Are you interested in the experiences of other artists starting out? Read the interviews at cultuur-ondernemen.nl with six artists from the guide for inspiration, recognition and motivation.

54. It is really important to have your own website. You can do this for free and simply at for example exto.nl (especially for artists) or via wordpress.com . 55. Etsy.com is a platform for presenting handicraft products/creations. 56. Did you know that the Netherlands is home to the best app builders in Europe? Who knows, maybe this could be your break. 57. Would you like to work with local residents to bring about change in a neighbourhood? Check out Cultuur+Ondernemen’s projects. 58. Take part in rituals in cemeteries around Hallowe’en: allerzielenalom.nl . 59. Search for Cultuur-Ondernemen on YouTube to see clips of projects outside the regular arts sector. 60. Get acquainted with work in other domains via colleagues who went before you. Follow the series of meetings via www.cultuur-ondernemen.nl/reeks-werken-inandere-domeinen-1 .

Money 61.

Market 41. 46

42. 43. 44. 45. 46.

47. 48.

49. 50. 51. 52. 53.

Present yourself in as few words as possible or an elevator pitch. This can be regularly used on assignments as a selection tool. Guidelines for prices are not permitted. What are known as cartel agreements are not allowed under competition law. The website beroepkunstenaar.nl provides useful information about the business aspects of your work. Visit a-n.co.uk for the network activities that they organise and lots of inspiring stories of artists’ experiences. To ascertain your worth, use Alexander Osterwalder’s Value Proposition Canvas. Download for free via businessmodelgeneration.com/canvas/vpc . Get to know more about the festival world. The Netherlands hosts more than 900 festivals. For example, more than 400 artists work at Mysteryland. Visit fijnefestival.tips for ideas or strtfstvl.nl for information on street festivals. Draw up a ‘wish list’ of goals and tasks; check regularly how much you have achieved. Use Facebook, LinkedIn, Instagram, Pinterest and MySpace. Be aware of how visible you are on social media. Nothing is private any more. For the latest developments in social media, follow frankwatching.com or mediamatic.net . Cultuur+Ondernemen has regular calls for artists to carry out assignments in healthcare, at events or in companies. Visit Creativity+Business. Network meetings and workshops for de music sector. musicmotion.nl Think about direct and indirect customers. For instance students you would like to reach while their school is your client. Get inspired by innovative ideas at www.theblueeconomy.org/innovations.html . Lots of opportunities for creative thinkers. Every year, Tilburg hosts the Day of the Emerging Artist, organised by Kunstpodium T in partnership with De Pont. Meet people involved with funds, presentation spots, art initiatives and, of course, artists.

62. 63. 64.

65. 66. 67. 68. 69. 70. 71. 72.

73.

Aunt Agatha scheme or venture capital is an attractive fiscal regulation for lending money to you as an artist starting out. You will find information about collective bargaining agreements in the arts at fnv-kiem.nl . When you are an entrepreneur, there are different funding options open to you. Read about them at beroepkunstenaar.nl under financial matters (geldzaken). To professionalise your artist’s practice, Cultuur+Ondernemen offers a range of funding opportunities. The training programmes also include financing workshops which you can find at cultuur-ondernemen.nl . You can use the Talent Loan if you would like to invest in the next stage of your talent development. Visit our website. You can also take out a loan if you would like to invest in your professional practice Think about the purchase of equipment or taking a course. Especially for artists, there are various possibilities for borrowing up to €40,000 which couldn’t go to a bank for. Visit cultuur-ondernemen.nl . In the case of regional loans, e.g. in Amsterdam and Utrecht, you get substantial discount on training and guidance when you take out a loan. For the possibility of regional loans, visit utrechtsecultuurlening.nl , amsterdamsecultuurlening.nl or bkkc.nl if you’re in Brabant. A loan offers more freedom than a subsidy. Remember though, you always have to repay a loan. Work out how you are going to do so beforehand. Borrowing costs money. When you take out a loan, you take on responsibility. Reflect upon this beforehand. Low-interest loans in the cultural sector usually go through the Cultuur+Financiering Fund, which was set up by Cultuur+Ondernemen. Visit fondscultuurfinanciering.nl . For large loans, Cultuur+Ondernemen works in partnership with Triodos Bank. Visit triodos.nl .

CONTENTs

CONTENTs

74. Study the Fondsenboek (Fund book) or the online version in the library. Remember the Prince Bernhard Culture Fund’s Named Fund. Sometimes you will match the criteria of this type of fund. 75. Consider alternative funding opportunities. Go to voordekunst.nl ; an example of crowdfunding. 76. You can approach a range of funds for a grants. See the chapter on ‘Useful sources’ in this guide for a list of websites (under the heading Funding, p. 41). 77. Have you spent a year at the academy and are talented? Apply to the Mondriaan Fund (MF) for a Young Talent Work Contribution. If you are granted one you can choose from a team of around fifty mentors from the top of the Dutch visual arts world, specially selected by MF and Cultuur+Ondernemen. 78. See which opportunities the Performing Arts Fund can offer you. They pay a lot of attention to young makers and talent development. 79. The Amsterdam Art Fund, the Mondriaan Fund and other funds organise information afternoons especially for you. Go along and learn about the subsidy opportunities and other things that they offer. 80. Are you a dancer in Amsterdam? Visit cultuur-ondernemen.nl and check out the Incentive scheme for Contemporary Dance. 48

47

Business 81.

82.

83. 84. 85. 86. 87. 88.

89. 90.

You will have a lot of non-standard questions. For this reason Cultuur+Ondernemen is happy to talk to you in greater depth about the customised solution to a question, problem or wish. Sign up for a free orientation interview via our website. Visit the Chamber of Commerce website: kvk.nl where you can order addresses based on the criteria you specify. At postnl.nl you can find a similar service that can be useful for mailshots in a particular postal code area. Meijers Verzekeringen provides insurance for artists. Read more on their website www.meijers.nl . Share disability risk with colleagues. See broodfonds.nl Check the opportunities offered by Q-factory: from rehearsal rooms, concert halls and recording studios to a restaurant and shortly even a hotel. How can you find a place of work? Rent a room in a building where other artists work. You can jointly present yourselves, share expenses and collaborate on assignments. You can also find lots of new work locations via hubs, seats2meet, hotspot, Spaces, Igluu, Het Coachhuis and other places especially for creatives. Check out fellow artists’ websites (presentation, cv and press releases) to gain inspiration. Swap experiences with colleagues and other contacts and work in partnership with artists from other disciplines. It will broaden your horizons and will often get you great contacts that once again could result in more work. Co-write a press release with others, make an advert or a mailshot. Once people know you they will be more prepared to ask you to join them on a project or assignment. Place a message on social media or the website of a branch organisation. You could become a member of an artists’ collective or association or get to know colleagues through a professional organisation.

91.

Keep an eye out for collaborations outside your own discipline. Events are good places to make new contacts. 92. Visit events such as Art Rotterdam, starters day of the Chamber of Commerce, Buma Classical Convention, Chamber Music Day, Noorderslag and The Dutch Dance Days. 93. If you have any questions of a business nature, then get in touch with Cultuur+Ondernemen. We have an extensive network of business consultants. 94. Useful book-keeping programme which can be found at http://gravita.nl/ .

Fiscal and legal 95. Ask your fellow artists how they selected their legal form. 96. Visit beroepkunstenaar.nl for information about legal forms. You will find sample contracts there too. 97. Call the Solicitor telephone 0900 346 9393 (9.00 a.m-2.00 p.m., 25 cents/min) or visit notaris.nl. 98. You can ask the Clinic a legal question about intellectual property’ copyright, trade mark law etc.). You will be given free advice by students, supported by SOLV law firm. See clinic.nl . 99. Are you familiar with the National General Terms & Conditions for Art Assignments (Landelijke Algemene Voorwaarden Kunstopdrachten)? They can be found at cultuur-ondernemen.nl . 100. The internet offers fantastic opportunities for showing your work. It is important to consider protecting it where necessary. Creative commons offers all manner of options: creativecommons.nl . 101. Set down any copyright agreements you make with your client. If you are a designer, then BNO can advise you about this subject. 102. Get to know about your rights as a performing musician by visiting sena.nl. Are you a performing musician or actor? Then visit stichtingnorma.nl . 103. If you want to set up a foundation, useful information and guidelines can be found on the governancecodecultuur.nl . 104. Have you got your financial affairs straight before blue tax envelopes (set to disappear as of 2018) drop through the letterbox? Your tax return has to be submitted before a certain date otherwise you need to apply for a deferral. 105. The Tax Authority also provides advice. Call them on 0800 0443 or find clear information at belastingdienst.nl . A visit to the tax office can also be enlightening. 106. The Tax Authority is automatically notified of your registration at the Chamber of Commerce. You will hear whether you qualify for a temporary or permanent VAT number. 107. If you regularly work as a contractor, find out about model agreements. 108. Cultuur+Ondernemen publishes an annual Income Tax Return Manual especially for artists. You can download the manual at cultuur-ondernemen.nl . 109. As an entrepreneur you must keep all invoices and receipts for seven years. You can hire a bookkeeper or a payroll agency to advise you if you are unwilling or unable to do your own administration.

49

CONTENTs

CONTENTs

74. Study the Fondsenboek (Fund book) or the online version in the library. Remember the Prince Bernhard Culture Fund’s Named Fund. Sometimes you will match the criteria of this type of fund. 75. Consider alternative funding opportunities. Go to voordekunst.nl ; an example of crowdfunding. 76. You can approach a range of funds for a grants. See the chapter on ‘Useful sources’ in this guide for a list of websites (under the heading Funding, p. 41). 77. Have you spent a year at the academy and are talented? Apply to the Mondriaan Fund (MF) for a Young Talent Work Contribution. If you are granted one you can choose from a team of around fifty mentors from the top of the Dutch visual arts world, specially selected by MF and Cultuur+Ondernemen. 78. See which opportunities the Performing Arts Fund can offer you. They pay a lot of attention to young makers and talent development. 79. The Amsterdam Art Fund, the Mondriaan Fund and other funds organise information afternoons especially for you. Go along and learn about the subsidy opportunities and other things that they offer. 80. Are you a dancer in Amsterdam? Visit cultuur-ondernemen.nl and check out the Incentive scheme for Contemporary Dance. 48

Business 81.

82.

83. 84. 85. 86. 87. 88.

89. 90.

You will have a lot of non-standard questions. For this reason Cultuur+Ondernemen is happy to talk to you in greater depth about the customised solution to a question, problem or wish. Sign up for a free orientation interview via our website. Visit the Chamber of Commerce website: kvk.nl where you can order addresses based on the criteria you specify. At postnl.nl you can find a similar service that can be useful for mailshots in a particular postal code area. Meijers Verzekeringen provides insurance for artists. Read more on their website www.meijers.nl . Share disability risk with colleagues. See broodfonds.nl Check the opportunities offered by Q-factory: from rehearsal rooms, concert halls and recording studios to a restaurant and shortly even a hotel. How can you find a place of work? Rent a room in a building where other artists work. You can jointly present yourselves, share expenses and collaborate on assignments. You can also find lots of new work locations via hubs, seats2meet, hotspot, Spaces, Igluu, Het Coachhuis and other places especially for creatives. Check out fellow artists’ websites (presentation, cv and press releases) to gain inspiration. Swap experiences with colleagues and other contacts and work in partnership with artists from other disciplines. It will broaden your horizons and will often get you great contacts that once again could result in more work. Co-write a press release with others, make an advert or a mailshot. Once people know you they will be more prepared to ask you to join them on a project or assignment. Place a message on social media or the website of a branch organisation. You could become a member of an artists’ collective or association or get to know colleagues through a professional organisation.

91.

Keep an eye out for collaborations outside your own discipline. Events are good places to make new contacts. 92. Visit events such as Art Rotterdam, starters day of the Chamber of Commerce, Buma Classical Convention, Chamber Music Day, Noorderslag and The Dutch Dance Days. 93. If you have any questions of a business nature, then get in touch with Cultuur+Ondernemen. We have an extensive network of business consultants. 94. Useful book-keeping programme which can be found at http://gravita.nl/ .

Fiscal and legal 95. Ask your fellow artists how they selected their legal form. 96. Visit beroepkunstenaar.nl for information about legal forms. You will find sample contracts there too. 97. Call the Solicitor telephone 0900 346 9393 (9.00 a.m-2.00 p.m., 25 cents/min) or visit notaris.nl. 98. You can ask the Clinic a legal question about intellectual property’ copyright, trade mark law etc.). You will be given free advice by students, supported by SOLV law firm. See clinic.nl . 99. Are you familiar with the National General Terms & Conditions for Art Assignments (Landelijke Algemene Voorwaarden Kunstopdrachten)? They can be found at cultuur-ondernemen.nl . 100. The internet offers fantastic opportunities for showing your work. It is important to consider protecting it where necessary. Creative commons offers all manner of options: creativecommons.nl . 101. Set down any copyright agreements you make with your client. If you are a designer, then BNO can advise you about this subject. 102. Get to know about your rights as a performing musician by visiting sena.nl. Are you a performing musician or actor? Then visit stichtingnorma.nl . 103. If you want to set up a foundation, useful information and guidelines can be found on the governancecodecultuur.nl . 104. Have you got your financial affairs straight before blue tax envelopes (set to disappear as of 2018) drop through the letterbox? Your tax return has to be submitted before a certain date otherwise you need to apply for a deferral. 105. The Tax Authority also provides advice. Call them on 0800 0443 or find clear information at belastingdienst.nl . A visit to the tax office can also be enlightening. 106. The Tax Authority is automatically notified of your registration at the Chamber of Commerce. You will hear whether you qualify for a temporary or permanent VAT number. 107. If you regularly work as a contractor, find out about model agreements. 108. Cultuur+Ondernemen publishes an annual Income Tax Return Manual especially for artists. You can download the manual at cultuur-ondernemen.nl . 109. As an entrepreneur you must keep all invoices and receipts for seven years. You can hire a bookkeeper or a payroll agency to advise you if you are unwilling or unable to do your own administration.

CONTENTs

CONTENTs

110. If you are an entrepreneur you will be able to deduct your investments from your tax return so you will pay less tax. Professional expenses deduction only applies if you are a contractor/in paid employment/fictitious employment. 111. Keep track of your hours in your diary so if the tax inspectors visit you, you can show them how you spent your time.

50

49

INDEX Acquisition 21 Administration tip 109 50 Address lists tip 82 48 Consultancy programme tip 22 5, 13, 45 Agatha scheme tip 61 47 Artists 31 Copyright tip 101 34, 49 Tax 33 Books 42 Abroad 40 Bread fund tip 83 31, 48 VAT tip 106 49 Appendix of useful addresses 53 Collective bargaining agreement (CAO) tip 62 47 Coaching tip 19 and 20 45 Cultural loan tip 69 12, 47 Conflict handling 33 Creativity+Business tip 49 6, 18, 46 Crowdfunding tip 75 26, 48 Funding mix 25 Freelancer 29 Golden triangle 30 Governance Code tip 103 35, 41, 49 Expanding frontiers 18 Hybrid professional practice 17 Income 26 Income tax tip 108 49 Investing tip 65 and 66 25, 47 Client segment 10, 21 National General Terms & Conditions for Art Assignments (LAVK) 42 Apprenticeship tip 25 20, 45 Borrowing tip 65-73 25, 47

Career 16-20 Marketing tip 17 21-24, 45 Mentoring tip 20 and 77 37, 45, 48 Model agreement tip 107 29-31 Networking 23, 42 Performing 27 Orientation interview tip 81 40, 48 Portfolio tip 23 18, 40, 45 Price 24, 27 Promotion 24 Legal forms tip 95 and 96 34, 49 Social media tip 48 42, 46 Culture Sector plan tip 25 20, 45 Sponsoring 26 Stakeholders 23 Subsidy tip 70, 76, 78 35, 43, 47, 48 Talent Loan tip 65 39, 41, 47 Training courses tip 13, 14 and 32 44, 45 VAR 29 Revenue model 17, 25, 27 Selling 24 Payroll agency tip 109 50 Insurance tip 83 31, 34, 41, 48 Independent 30, 41, 42 Contractor tip 107 29-31, 33 and 49

51

CONTENTs

CONTENTs

110. If you are an entrepreneur you will be able to deduct your investments from your tax return so you will pay less tax. Professional expenses deduction only applies if you are a contractor/in paid employment/fictitious employment. 111. Keep track of your hours in your diary so if the tax inspectors visit you, you can show them how you spent your time.

50

CONTENTs

INDEX Acquisition 21 Administration tip 109 50 Address lists tip 82 48 Consultancy programme tip 22 5, 13, 45 Agatha scheme tip 61 47 Artists 31 Copyright tip 101 34, 49 Tax 33 Books 42 Abroad 40 Bread fund tip 83 31, 48 VAT tip 106 49 Appendix of useful addresses 53 Collective bargaining agreement (CAO) tip 62 47 Coaching tip 19 and 20 45 Cultural loan tip 69 12, 47 Conflict handling 33 Creativity+Business tip 49 6, 18, 46 Crowdfunding tip 75 26, 48 Funding mix 25 Freelancer 29 Golden triangle 30 Governance Code tip 103 35, 41, 49 Expanding frontiers 18 Hybrid professional practice 17 Income 26 Income tax tip 108 49 Investing tip 65 and 66 25, 47 Client segment 10, 21 National General Terms & Conditions for Art Assignments (LAVK) 42 Apprenticeship tip 25 20, 45 Borrowing tip 65-73 25, 47

Career 16-20 Marketing tip 17 21-24, 45 Mentoring tip 20 and 77 37, 45, 48 Model agreement tip 107 29-31 Networking 23, 42 Performing 27 Orientation interview tip 81 40, 48 Portfolio tip 23 18, 40, 45 Price 24, 27 Promotion 24 Legal forms tip 95 and 96 34, 49 Social media tip 48 42, 46 Culture Sector plan tip 25 20, 45 Sponsoring 26 Stakeholders 23 Subsidy tip 70, 76, 78 35, 43, 47, 48 Talent Loan tip 65 39, 41, 47 Training courses tip 13, 14 and 32 44, 45 VAR 29 Revenue model 17, 25, 27 Selling 24 Payroll agency tip 109 50 Insurance tip 83 31, 34, 41, 48 Independent 30, 41, 42 Contractor tip 107 29-31, 33 and 49

APPENDIX OF USEFUL E-ADDRESSES

51

CONTENTs

The cultural sector comprises a large number of branch organisations and interest groups. Sometimes they are organised around an art discipline or specific purpose.

NATIONAL PROFESSIONAL AND BRANCH ORGANISATIONS AND INTEREST GROUPS General

52

N o t e s

• Federatie Cultuur - Brings together the branch and employers’ associations in the performing arts, museums, libraries, arts centres, theatres, visual art etc. Members: Cultuurconnectie, Koepel Opera, NAPK, NGA, Museums Association, VNPF, VOB, VSCD - federatiecultuur.nl • Federatie Dutch Creative Industries - Represents eight branch and professional organisations: BNA, BNI, BNO, DGA, DuPho, DDA, Modint, VEA dutchcreativeindustries.nl

Visual arts and design • • • • • •

BBK - Professional association for visual artists- bbknet.nl BNA - Royal Institute of Dutch Architects - bna.nl BNI - Association of Dutch Interior Architects - bni.nl BNO - Association of Dutch Designers - bno.nl DuPho - Association of professional photographers - dupho.nl DDA - Dutch Digital Agencies is the industry association and knowledge

organisation of digital agencies - dutchdigitalagencies.com • Designlink - Platform for quality initiatives aimed at professionalising the design chain. It may concern commissioning and entrepreneurship, knowledge and policy development - designlink.nl • Dutch Directors Guild (DDG) - Interest group for professional film and television directors in the Netherlands - directorsguild.nl • Dutch Games Association - Industry organisation of the Dutch game industry - dutchgamesassociation.nl • Modint - Industry network of manufacturers, importers, agents and wholesalers in clothing, fashion accessories, carpet and fabrics - modint.nl • NABK - National Association for Visual Artists - nabk.nl • NKVB - Dutch Society of Sculptors - nkvb.nl • NGA - Netherlands Gallery Association - Branch organisation for The Dutch gallery system - nederlandsegalerieassociatie.nl • VEA - Association of Professional Communication Consultants - vea.nl

53

APPENDIX OF USEFUL E-ADDRESSES

CONTENTs

CONTENTs

The cultural sector comprises a large number of branch organisations and interest groups. Sometimes they are organised around an art discipline or specific purpose.

NATIONAL PROFESSIONAL AND BRANCH ORGANISATIONS AND INTEREST GROUPS General • Federatie Cultuur - Brings together the branch and employers’ associations in the performing arts, museums, libraries, arts centres, theatres, visual art etc. Members: Cultuurconnectie, Koepel Opera, NAPK, NGA, Museums Association, VNPF, VOB, VSCD - federatiecultuur.nl • Federatie Dutch Creative Industries - Represents eight branch and professional organisations: BNA, BNI, BNO, DGA, DuPho, DDA, Modint, VEA dutchcreativeindustries.nl

52

N o t e s

53

Visual arts and design • • • • • •

BBK - Professional association for visual artists- bbknet.nl BNA - Royal Institute of Dutch Architects - bna.nl BNI - Association of Dutch Interior Architects - bni.nl BNO - Association of Dutch Designers - bno.nl DuPho - Association of professional photographers - dupho.nl DDA - Dutch Digital Agencies is the industry association and knowledge

organisation of digital agencies - dutchdigitalagencies.com • Designlink - Platform for quality initiatives aimed at professionalising the design chain. It may concern commissioning and entrepreneurship, knowledge and policy development - designlink.nl • Dutch Directors Guild (DDG) - Interest group for professional film and television directors in the Netherlands - directorsguild.nl • Dutch Games Association - Industry organisation of the Dutch game industry - dutchgamesassociation.nl • Modint - Industry network of manufacturers, importers, agents and wholesalers in clothing, fashion accessories, carpet and fabrics - modint.nl • NABK - National Association for Visual Artists - nabk.nl • NKVB - Dutch Society of Sculptors - nkvb.nl • NGA - Netherlands Gallery Association - Branch organisation for The Dutch gallery system - nederlandsegalerieassociatie.nl • VEA - Association of Professional Communication Consultants - vea.nl

CONTENTs

CONTENTs

Libraries • VOB - Association of Public Libraries - branch association for library organisations focusing on cultural entrepreneurship and being a modern employer - debibliotheken.nl

Heritage and museums • LCM - Netherlands Museum Advisors’ Foundation - Collaboration of museum advisors in the Netherlands - museumconsulenten.nl • Museum Association - Interest group for Dutch museums museumvereniging.nl • Cultural Heritage Inspectorate - The Heritage Inspection supervises part of Dutch cultural heritage.- erfgoedinspectie.nl • DEN, Digital Heritage Netherlands - the DEN Foundation is a national knowledge centre for ICT in the cultural heritage. DEN supports archives, museums, libraries with remarkable collections, archaeological and building archaeological institutes den.nl 54

Performing arts • ACT Actors Interests - Lobby organisation for actors - acteursbelangen.nl • NAPK - Dutch Association of Performing Arts - Branch association of professional performing arts producers in the Netherlands - napk.nl • Nieuw Geneco - Dutch professional association for composers - nieuwgeneco.nl • Ntb - The Dutch Performing Artists’ Union - Union for musicians, actors, dancers and artists - ntb.nl • VNME - Association of Dutch Music Ensembles - vnme.nl • VNPF - Association of Dutch Pop Venues and Festivals - looks after the collective interests of pop venues and festivals in the Netherlands - vnpf.nl • VPT - Stage Technology Association - aims to make an industry-wide contribution to knowledge, expertise, professionalism, health and safety of everyone who works behind the scenes in the performance and events sector - vpt.nl • VVTP - Independent Theatre Producers’ Association - Partnership between unsubsidised producers of theatre, music, cabaret, musicals, opera and other performing arts - vvtp.com • The Vrije KNTV - Royal Dutch Performing Artists’ Association was re-established as Vrije (Independent) KNTV - Professional interest group for musicians. vrijekntv.nl

INTEREST GROUPS / UNIONS • CNV Arts and Culture Sector - Union for the arts and culture sector cnvvakmensen.nl • Cultuurconnectie - Branch organisation for cultural education, amateur art and people’s university work - cultuurconnectie.nl • De Zaak Nu - Interest group for presentation institutes - dezaaknu.nl • DutchCulture - Advice and organisation agency for international cultural collaboration - dutchculture.nl • FNV KIEM - Union for employees, freelancers, small independents, starters and leavers in the arts, information industry, entertainment and media. In mid-2016 the activities of this organisation were transferred to the FNV and the arts union, ‘de Kunstenbond’ - fnv-kiem.nl / kunstenbond.nl • FNV Zelfstandigen - Lobby group for contractors - fnvzzp.nl • Kunsten ’92 - Stands up for the interests of art, culture and cultural heritage kunsten92.nl • Kunstenbond - New union for all professionals working in the arts and the creative industry. - kunstenbond.nl • MKB Nederland - Branch organisation for the small and medium-sized enterprise. mkb.nl • Platform Makers - Partnership of interest groups and professional organisations for authors and performing artists. The platform aims to strengthen copyright and improve the negotiating position of makers with producers and clients - platformmakers.nl • PZO - Platform for Independent Entrepreneurs - Association for entrepreneurial contractors - pzo-zzp.nl • TransArtists - Platform about artist-in-residence opportunities - transartists.org • Association of Writers and Translators - Looks after the collective and individual interests of Dutch writers and literary translators - vsenv.nl • VSCD - Association of Theatre and Concert Hall directors - Lobbyist for theatres and concert halls - vscd.nl

55

CONTENTs

CONTENTs

Libraries • VOB - Association of Public Libraries - branch association for library organisations focusing on cultural entrepreneurship and being a modern employer - debibliotheken.nl

Heritage and museums • LCM - Netherlands Museum Advisors’ Foundation - Collaboration of museum advisors in the Netherlands - museumconsulenten.nl • Museum Association - Interest group for Dutch museums museumvereniging.nl • Cultural Heritage Inspectorate - The Heritage Inspection supervises part of Dutch cultural heritage.- erfgoedinspectie.nl • DEN, Digital Heritage Netherlands - the DEN Foundation is a national knowledge centre for ICT in the cultural heritage. DEN supports archives, museums, libraries with remarkable collections, archaeological and building archaeological institutes den.nl 54

Performing arts • ACT Actors Interests - Lobby organisation for actors - acteursbelangen.nl • NAPK - Dutch Association of Performing Arts - Branch association of professional performing arts producers in the Netherlands - napk.nl • Nieuw Geneco - Dutch professional association for composers - nieuwgeneco.nl • Ntb - The Dutch Performing Artists’ Union - Union for musicians, actors, dancers and artists - ntb.nl • VNME - Association of Dutch Music Ensembles - vnme.nl • VNPF - Association of Dutch Pop Venues and Festivals - looks after the collective interests of pop venues and festivals in the Netherlands - vnpf.nl • VPT - Stage Technology Association - aims to make an industry-wide contribution to knowledge, expertise, professionalism, health and safety of everyone who works behind the scenes in the performance and events sector - vpt.nl • VVTP - Independent Theatre Producers’ Association - Partnership between unsubsidised producers of theatre, music, cabaret, musicals, opera and other performing arts - vvtp.com • The Vrije KNTV - Royal Dutch Performing Artists’ Association was re-established as Vrije (Independent) KNTV - Professional interest group for musicians. vrijekntv.nl

INTEREST GROUPS / UNIONS • CNV Arts and Culture Sector - Union for the arts and culture sector cnvvakmensen.nl • Cultuurconnectie - Branch organisation for cultural education, amateur art and people’s university work - cultuurconnectie.nl • De Zaak Nu - Interest group for presentation institutes - dezaaknu.nl • DutchCulture - Advice and organisation agency for international cultural collaboration - dutchculture.nl • FNV KIEM - Union for employees, freelancers, small independents, starters and leavers in the arts, information industry, entertainment and media. In mid-2016 the activities of this organisation were transferred to the FNV and the arts union, ‘de Kunstenbond’ - fnv-kiem.nl / kunstenbond.nl • FNV Zelfstandigen - Lobby group for contractors - fnvzzp.nl • Kunsten ’92 - Stands up for the interests of art, culture and cultural heritage kunsten92.nl • Kunstenbond - New union for all professionals working in the arts and the creative industry. - kunstenbond.nl • MKB Nederland - Branch organisation for the small and medium-sized enterprise. mkb.nl • Platform Makers - Partnership of interest groups and professional organisations for authors and performing artists. The platform aims to strengthen copyright and improve the negotiating position of makers with producers and clients - platformmakers.nl • PZO - Platform for Independent Entrepreneurs - Association for entrepreneurial contractors - pzo-zzp.nl • TransArtists - Platform about artist-in-residence opportunities - transartists.org • Association of Writers and Translators - Looks after the collective and individual interests of Dutch writers and literary translators - vsenv.nl • VSCD - Association of Theatre and Concert Hall directors - Lobbyist for theatres and concert halls - vscd.nl

CONTENTs

CONTENTs

RIGHTS

56

55

• Auteursrecht.nl - Informative website about copyright - auteursrecht.nl • BBIE - Benelux Agency for Intellectual Property - The official agency for the registration of trade marks, models and drawings in the Benelux - boip.int • BREIN Foundation - Combats intellectual property fraud on behalf of authors, performing artists, publishers, producers and distributors of music, film, books, games and interactive software - stichtingbrein.nl • Buma/Stemra - Music authors’ and music publishers’ copyright organisation in the Netherlands and represents the interests of members worldwide - bumastemra.nl • Cedar - The centre for copyright and related rights is a specialist organisation for copyright organisations and is committed to the interests of copyright holders - cedar.nl • Creative Commons Nederland - Works for the development and promotion of and information about the Creative Commons licences in the Netherlands. The licences enable makers to release material that is protected by copyright and associated rights for certain forms of reuse without losing the protection the copyright provides - creativecommons.nl • Stichting Leenrecht - Collects and distributes public lending rights compensation - leenrecht.nl • Lira - Foundation or literary rights of authors - Authors’ rights organisation for writers and translators - lira.nl • NORMA - Rights organisation for all performing artists. NORMA ensures that they receive fair financial remuneration for the use of their work in the Netherlands and abroad - stichtingnorma.nl • Netherlands Patent Office - The Patent Office provides information about the patent system and looks after the interests of the Netherlands in European and global organisations. The patent system offers legal protection of inventions and innovations - rvo.nl/onderwerpen/innovatief-ondernemen/octrooien-ofwel-patenten • Pictoright - Copyright organisation for visual maker in the Netherlands: illustrators, visual artists, graphic designers, photographers, architects and other imagemakers - pictoright.nl • PRO Foundation - Publication and Reproduction Rights Organisation looks after the interests of publishers and the authors they represent in the area of collective exploitation of copyrights. They also keep usage records - stichting-pro.nl • Sena - Regulates the rights of musicians and producers - sena.nl • VOI©E - Branch association of collective management organisations (CBOs) for copyright or related rights; the organisations that ensure authors, performing artists, publishers and producers receive fair remuneration for any use that is made of their work. - voice-info.nl

Cultuur+Ondernemen is the knowledge centre for entrepreneurship in the cultural sector. We support cultural organisations, independently working artists and creatives who wish to get more return on their activities. To this end we work in partnership with governments and funds to increase the impact of their cultural policy and investments. With our f unding and governance programmes we strengthen the cultural sector and make it more independent so that it can flourish and so the community can benefit from the effects culture provides. Our services include: • training courses • individual and group guidance in the form of advice, career interviews, mentoring and coaching • investment options such as loans • apprenticeships

CONTACT

COLOPHON

Cultuur+Ondernemen

This guide is a Cultuur+Ondernemen publication.

Kerkstraat 204 P.O. Box 2 617 1000 CP Amsterdam

Compilation: Interviews:

Cultuur+Ondernemen

Photos:

Julia Blaukopf, Maarten van Haa ff,

cultuur-ondernemen.nl

Roelof Jan Mulder

fondscultuurfinanciering.nl

Design:

governanc ecodecult uur.nl

Printing:

[email protected]

Kirsten Hannema, Lisa Koetsenruijter

Shape design, Leiden

Drukkerij Holland, Alphen aan den Rijn With thanks to: Ernst Houdkamp, Maud Sauer,

+31 (0)20 535 25 00

the ar tists intervie wed Although this te xt has been c ompiled with g reat c are, Cultuur+Ondernemen cannot accept any liability for any errors or omissions. © November 2016

CONTENTs

CONTENTs

Cultuur+Ondernemen is the knowledge centre for entrepreneurship in the cultural sector. We support cultural organisations, independently working artists and creatives who wish to get more return on their activities. To this end we work in partnership with governments and funds to increase the impact of their cultural policy and investments. With our f unding and governance programmes we strengthen the cultural sector and make it more independent so that it can flourish and so the community can benefit from the effects culture provides.

RIGHTS

56

• Auteursrecht.nl - Informative website about copyright - auteursrecht.nl • BBIE - Benelux Agency for Intellectual Property - The official agency for the registration of trade marks, models and drawings in the Benelux - boip.int • BREIN Foundation - Combats intellectual property fraud on behalf of authors, performing artists, publishers, producers and distributors of music, film, books, games and interactive software - stichtingbrein.nl • Buma/Stemra - Music authors’ and music publishers’ copyright organisation in the Netherlands and represents the interests of members worldwide - bumastemra.nl • Cedar - The centre for copyright and related rights is a specialist organisation for copyright organisations and is committed to the interests of copyright holders - cedar.nl • Creative Commons Nederland - Works for the development and promotion of and information about the Creative Commons licences in the Netherlands. The licences enable makers to release material that is protected by copyright and associated rights for certain forms of reuse without losing the protection the copyright provides - creativecommons.nl • Stichting Leenrecht - Collects and distributes public lending rights compensation - leenrecht.nl • Lira - Foundation or literary rights of authors - Authors’ rights organisation for writers and translators - lira.nl • NORMA - Rights organisation for all performing artists. NORMA ensures that they receive fair financial remuneration for the use of their work in the Netherlands and abroad - stichtingnorma.nl • Netherlands Patent Office - The Patent Office provides information about the patent system and looks after the interests of the Netherlands in European and global organisations. The patent system offers legal protection of inventions and innovations - rvo.nl/onderwerpen/innovatief-ondernemen/octrooien-ofwel-patenten • Pictoright - Copyright organisation for visual maker in the Netherlands: illustrators, visual artists, graphic designers, photographers, architects and other imagemakers - pictoright.nl • PRO Foundation - Publication and Reproduction Rights Organisation looks after the interests of publishers and the authors they represent in the area of collective exploitation of copyrights. They also keep usage records - stichting-pro.nl • Sena - Regulates the rights of musicians and producers - sena.nl • VOI©E - Branch association of collective management organisations (CBOs) for copyright or related rights; the organisations that ensure authors, performing artists, publishers and producers receive fair remuneration for any use that is made of their work. - voice-info.nl

Our services include: • training courses • individual and group guidance in the form of advice, career interviews, mentoring and coaching • investment options such as loans • apprenticeships

CONTACT

COLOPHON

Cultuur+Ondernemen

This guide is a Cultuur+Ondernemen publication.

Kerkstraat 204 P.O. Box 2 617 1000 CP Amsterdam

Compilation: Interviews:

Cultuur+Ondernemen

Photos:

Julia Blaukopf, Maarten van Haa ff,

cultuur-ondernemen.nl

Roelof Jan Mulder

fondscultuurfinanciering.nl

Design:

governanc ecodecult uur.nl

Printing:

[email protected]

Kirsten Hannema, Lisa Koetsenruijter

Shape design, Leiden

Drukkerij Holland, Alphen aan den Rijn With thanks to: Ernst Houdkamp, Maud Sauer,

+31 (0)20 535 25 00

the ar tists intervie wed Although this te xt has been c ompiled with g reat c are, Cultuur+Ondernemen cannot accept any liability for any errors or omissions. © November 2016

CONTENTs

Conveniently download the pdf version of this guide from our website. This guide will raise questions. You can ask them via our website or on social media.

Check Facebook, Twitter, LinkedIn. Our consultants would be happy to assist you in using this guide. Make an appointment for an orientation interview.

Business Guide 2016 2017

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