Editing Perspectives on touring (section)

===5. Who are your audience?===

Start by assessing this at home, your main audiences, then scope elsewhere within your closest region, national and international and then other diverse audiences that may not have seen your work in the past.

Touring can provide a discovery and a building network of new territories for one’s creative work. People you meet in touring can eventually enlarge your reach of audience to a new region or future creative collaborators.
 
From an ethnical point view as for my case and experience, I am learning, understanding and widening my audiences within the Pan Asian community sustaining visibilities at home, national and in Asia. In Canada, in the past years reaching to my Filipino community and its multiple generational structures and how to understand and able to immerse within their boundaries and be involved or enter in their habitual presence.

This has been an ongoing work and aim for a sustainable and continued creative network and dialogue.

Community engagements can easily be achieved while on tour, apart from the creative work you present are the exchanges towards educational and advocacy purposes, in workshops, master classes or public dialogue that can provide an open door of possibilities for further growth understanding cultures and people.
 
In overview, touring to me has brought a widening understanding of my work and its possible place elsewhere in the world.

Touring is not easy, can pose huge risks and bring exhaustion to the economic situation of an individual artist or company. But touring, to me, has also been a learning experience and educational pathway, embracing a global energy that is upon us.
Touring can be a fulfilling activity when you are fully immersed in the field and its wealth of sharing cultures, people and nations.

As a diverse artist, I have initiated different ways that work best for me and my creative work to find avenues that could lead to touring.
Networking and continued partnership and collaborations among diverse artists in my home, national and international regions as well as venues has been a driving force and link that have led to opportunities to have my work on tour. 

I have found barriers in some presenters and venues that continue to exist but enclosed in their chosen perspective and ways of programming and the place of diversification, artists and their works are yet to fully emerge and become established. These are barriers that we, as a collective diverse organizations and artists, will need to advocate for and continue to pursue for the visibility of creative diverse work.
I’ve certainly had and continue to be challenged within the margin of artistic political policy and it takes patience, determination and perseverance to continue and knock on people’s doors to be invited and be presented.
The relevance of networking, nurturing and expanding our allies among our close knit supporter and followers are essentials, they are the backbone that continues to provide morals, supports and opportunities to express our work and concerns, help and serve each other to provide a cultural foundation and flat form for the visibility of diverse working artists.

Copyright Alvin Erasga Tolentino

Suggested Web link networks:
•	www.resartis.org
•	/www.transartists.org/
•	http://www.zeroland.co.nz/
•	www.live-singapore.com.se
•	CHRC (cultural human resources council
•	http://www.culturalhrc.ca/aboutus/index-e.asp
•	www.asianartsaccess.org
•	www.labforculture.org/en
•	http://portal.unesco.org/culture
•	www.art-forum-berlin.de

Document format [[File:Perspective_on_touring_for_WIKI_AAF.pdf]]