Carlynn de Waal-Smit studied Dance and Musical Theatre at Pretoria Technikon receiving a diploma in Dance and Teaching, she went on to be a Company and Stage Manager for BOP dance company where she began her working career just as South Africa’s Democracy was born in 1994.
Living and working in the UK in 1995, Carlynn took up a position in middle management, where she gained additional business, management and communication skills. On her return to SA in 1996, she went back to Stage Management for a short stint. The opportunity arose to start working at Contractors Artists in the same year, a family business as an artist management agency, facilitating careers and managing performers in the professional entertainment industry. Contractors is a member of the PMA (Personal Managers Association) where Carlynn held the position of Vice Chairperson for many years.
She has been involved in the industry for almost three decades and continues to liaise with directors, producers, casting directors, production managers, advertising executives and artists facilitating productions of all natures. Her understanding of conditions, common practice, contracts and systems in the industry continues to add value to the media business and brings about a team environment for the benefit of each project.
The growing decline in standards in the industry and the rights of performers inspired her to collaborate with a few performers and initiate a Guild for Actors – SAGA South African Guild of Actors was born and officially Constituted in 2009. She continues to advocate for actors on every possible platform and every opportunity so that reform and regulation can happen in the South African industry. This is a social justice issue that inspires her to leave things in a better place than where she found it.
I studied dance at Pretoria Technikon, so I understand performers having been one. I worked as a stage and company manager for BOP dance company and after a working holiday in the UK, I returned to SA and stage managed a production of King and I at the State Theatre in 1996. Contractors also started in 1996, my brother bought a modelling agency and my sister and I started working together building an agency more geared towards performers. Working behind the scenes brings such satisfaction, when we are part of seeing actors live their dreams, witnessing their success, it gives us great pleasure.
Many artists do not see themselves as a business, so they seldom read their contracts or understand their rights contained in their contracts. As independent contractors, artists need to see themselves as self-employed, so educating themselves about what the contracts contain they are signing. Signing with a reputable agent is imperative as rouge agents can also lead to exploitation of artists. (We promote PMA agents because there is a constitution and code of ethics they need to comply with.) Artists will accept any job even if it could be to their detriment, so asking questions and informing themselves is vital.
Ensuring that we have as much information about the clients that we work with is important, so that we can be a buffer to avoid exploitation as much as possible. Negotiating the contract deal and terms provides as much protection as possible. As agents making sure that we keep our finger on the pulse of the industry allows us to have up to date information. As a member of The PMA, an agent organisation working in a professional manner for professional artists, allows us to stand up for the rights of artists as a collective and through how we engage in work protecting artists where we can.
Unfortunately, this happens too often. We have had to insist on contract terms being honoured whether it is how artists are treated, payment terms that are not met, dangerous activities or sexual harassment issues. (When artists are SAGA members, they have legal support that agents cannot give them)
Often the outcome is in the best interest of the artist, however sometimes it is unfortunate that we have to deal with clients who put us in a situation where it is a take it or leave it. Artists will most likely accept the terms because they want to work. Agents cannot choose for their artists, so supporting the project is the best option, given that we are aware going in to the contract that there could be issues we foresee upfront. Fear of losing work or standing up for their rights, continues the cycle of abuse or exploitation. Clients often rely on this to force their power with artists and their agents representing them.
As agents, the best assistance is suggesting industry workshops and information sessions for artists to inform themselves. The unfortunate reality is that very few artists take the opportunity to inform themselves. Artists have a culture of apathy which includes passing on opportunities and to upskill their acting techniques.
Always be sure that the full negotiation is reflected in the agreement. The fees, terms and protections. There are industry suggested contracts in all the various forms from Theatre to TV, film etc making sure that clients use them. Check cancellation, payment, overtime and the number of hours of work.
Artists need to inform themselves, build a good relationship with their agent so that they can learn and ask questions to find out more about what they know and what they don’t know. Workshops and asking the questions about things like tax and requirements to keep being a professional.
The PMA agents work together on collective issues within the industry. Agents benefit from the industry knowledge gained with The PMA being a member of SAFED (South African Screen Federation) and TADA by collaborating with industry issues.
Some of the same answers like, choosing an agent, informing themselves about the artist as a business and upskilling with singing, dancing, acting techniques, possibly stage combat training or accents.
Information is accessible through agents, online and through blogs, podcasts or organisations that share relevant information. Hopefully many artists will have learned some of the necessary information, skills and resources available to equip them with entering into the industry. I do have concerns that the level of training and skills taught at tertiary institutions lack the business knowledge required to be industry ready.
