Navigating Brexit with Axel Satgé and Kevin Wratten of Split Second

um okay so welcome my name is amy bell and i'm the artist development producer at the place my sign name is like this like a jangling bell and i'm really excited to be welcoming you to this feed your practice webinar on navigating uh brexit we are joined today by the fantastic axl factory and kevin rutten who are split second um and i'm just gonna uh bring them on and let them introduce uh let them introduce themselves so here they are hi hi axel and hi kevin how you doing oh good thanks so good yeah happy to be here thanks for inviting us um i wanted to invite kevin and axel because they really have done incredible amounts of work on the brexit issue of how to handle it as artists and producers and also because they're really committed to this being a kind of peer learning moment for all of us where no one has all the answers that we can come together to try to share what we know and what we'd like to know so um yeah really excited that we'll spend about the next hour or so together with um kevin and axel so um without further ado i'll let you take it away lovely thanks again um hi my name's kevin my pronouns are he and him i've got dark brown hair i'm wearing black red glasses and an orange shirt hey hi everyone my name is axel my pronouns are he and him i have dark brown hair blue eyes and a bit of a stable and i'm wearing a white t-shirt and together we are the co-founders and directors of split second so we formed split second at the start of lockdown last year when we were both independent producers trying to navigate all this uncertainty around covid and then the kind of ongoing um challenges of trying to understand brexit so we decided we were stronger together to form split seconds and as split second we are producing and touring a portfolio of artists who are working across circus dance and theatre indoors and outdoors we're also creating projects to support the development of artists and producers so looking at training looking at surgeries looking at one-to-one mentoring etc and we work to strengthen the sector through consultation uh research and being an active voice in international networks and that includes some of the research we've been doing with extracts around brexit and navigating these new challenges and we've been invited here today because we gathered along the way some brexit expertise in our everyday professional life both kevin and i work with british companies touring internationally so we have faced some of the brexit challenges but most importantly we have collaborated with extracts to produce a practical guide to brexit for um outdoor arts touring companies uh so for those of you who don't know extracts extracts is a sort of development agency for other arts in the uk and they're based in manchester and i think we have at least one xtrx member here with us today and yes and also we did a similar webinar actually a few weeks ago where we invited a few guests to talk to us about some of the stickier points about brexit so we're here today to share with you our our knowledge i guess and i'm gonna start sharing the screen so just as we share the screen and just to say that you should be able to hopefully move the bar across that divides the screen share and the speakers so if you um want to alter the size of um kevin excellent stacy you should be able to do that um but let me know if you've got any problems with that thanks again thank you so yeah so just to start with an outline of how we're structuring today uh we split our presentation into two main sections the first we'll be looking at outward mobility so that's looking at uk artists or companies who are touring to present work in europe or working for european companies and in that section we're going to look at considerations for moving people moving goods or in our sector set equipment and we'll look at some case a case study from a uk company who is preparing to tour in europe the second section will look at inward mobility so european artists turn to the uk with their own work or come in to work with uk companies or festivals so we'll look at the same considerations around moving people moving stuff and we'll look at a case study from gandini juggling who are a uk-based company who are often working with european artists to perform in the uk oh sorry then we'll share a list that's the bulk of it we'll share a list of resources and then we obviously go into a question and answer session um where we can get to the nitty-gritty of some of what we've introduced thank you kevin so yes our first section will be on outward mobility so taking shows from the uk into gu uh and we're gonna cover the questions that you see on your screen now so what has changed now that the uk has left the eu how can artsy still travel and work in the eu uh what changes for transport of certain equipment and what we don't know yet um so i'm gonna give a very brief answer to the first question what has changed now that the uk has left the eu so if you've looked around a little bit on information on brexit the key thing that always comes back is now that the uk is a third country for the eu so what that means in essence is that you will treat the uk as any other country outside of the eu so we get uh we get the same rights as let's say america or any anywhere outside of ge so that has a lot of implications obviously you all know about uh no more freedom of movement of people and goods between between them the uk and geu and there's a lot of other implications that we we're going to cover now over to you given so yeah let's look at the first question how can uk artists still travel and work in the eu so i think around this there's a few key questions and in considerations just to make sure that you've got the right paperwork in place the first question being have you got the right travel documents um so if you're traveling with a british passport on the day of travel your passport needs to have at least six months left and before it expires so that you can travel and it needs to be at least it'd be less than 10 years old and if you don't have either of those or meet those requirements you may not be able to enter into european countries so i think before you even get to thinking about um traveling check your travel document as a six months you know left before expiring and has it been issued within the past 10 years the next consideration is around meeting entry requirements and there's two key considerations here visas and work permits and it's important to flag some countries refer to these documents and interchangeably so it's just really important to consider this when you're doing your research and just be clear fine um what visa means what work payment means for each country individually the visa is a document that gives a yeah i think you froze for a second oh sorry did you hear my overview of visa can you say that again just to be safe yeah sure so yes so i'm going to look at visas and work permits separately just so that we understand what the purpose of each document is and what it permits you to do so the visa is a document which gives the person the right to enter or leave a country for which it was issued and as uk nationals holding a british passport we have up to 90 days within a period of 180 days to enter into the schengen area under a visa waiver regime so that means within a six month period we can enter visa free for up to 90 days that could be consecutive days or it could be a month here a weekend there um three weeks there but ultimately those days are looked at in a kind of back they backtrack six months essentially to look at how many days you've spent in the schengen area um so as uk nationals we can be in there for up to 90 days within 180 days however if we're seeking work in the eu uk nationals are considered third country nationals and we might need a visa and or a work permit to do so and the rules are determined by each member state um so it's important to be checking in with each eu country to which you hope to travel to so that's visa which is mainly about right to enter and be in the country the second consideration let's just swap over interpreters while we move on to the next consideration thanks um let's do that thanks very much hi aaron so the second consideration is around work permits so the work permit is legal authorization which allows someone to take up employment in a country so as uk nationals if we're seeking to work in the eu again we're considered third country nationals something that we'll be repeating throughout today and we may need a work permit to do so what's complicated here is that each member state of the eu sets the rules around work permits and or visas so again it's really important to be researching what the terms are and the regulations are for all of the european countries that you're hoping to tour to so just to look at a few eu state members as examples if you were trying to travel a tourist show to germany in terms of visa as a british passport holder you're not required to have a visa if you start staying for under 90 days and then in terms of work permit as an artist you're exempt from applying for work permit as long as it's um within 90 days every 12 month rolling period so um so not quite the 90 within 180 days their work permit exemption is if you're working no more than 90 days within a 12-month period so just a consideration it's it's a kind of particular requirement to meet in terms of the netherlands if you were trying to tour to the netherlands no visas required for paid activity but in terms of work permits as long as you're there for a one-off short-term engagement so less than six weeks you should be exempt from needing a work permit so again different circumstances to germany um but quite clear in terms of visas and work permits somewhere like latvia all paid work requires a visa no matter the length of stay and in terms of permits um you'll need one to work in latvia as well and that would generally be organized through the the latvian presentation partner that you're working with so as i said each state determines their own rules and regulations around visas and work permits so in terms of where to check um obviously check in with individual embassies but arts admin have also recently published a really helpful guide around eu touring post-brexit and part of that guide is a kind of country by country guide of what's required in terms of visas and work permits so this is part of a resource list that will be circulated and i've seen amy's just dropped that into the chat so i'd really encourage you to look into that as well thanksgiving so the other thing that we need to think about when we take walk to europe is social security insurance healthcare healthcare sorry so obviously there's a lot of changes now so up to three brexits we british citizens used to be able to be covered [Music] for emergency medical emergency when they were going to europe for a brief moment of time we thought that we'd lost this right but actually there's been a change of regulation since brexit and british citizens still have access to emergency medical care when they go to europe so to benefit from that you need to get uh let me check my notes a global health insurance card also called ghic uh which replaces the european health insurance cards in hic so it's basically the same thing but you need to apply for these new cards um if you have a car and all cards it's still valid until it expires but you you really need to think about getting the new cards but not on that for the eu with eu citizens residents in the uk they can still use their european cards and once it expires they can apply for the european cuts they don't need to get a british card but this uh gh ic card um only gives you rights to uh get uh healthcare in a certain country that doesn't replace your travel insurance so you should definitely look into getting travel insurance suitable to your needs when you when you travel to europe the other thing we're going to look at now is social security payments um for some time i mean i guess if you've already taken work to europe you know that you need to provide a document called a1 which is document that proves to the visiting country that you pay your taxes and your social security contributions in the uk and at some point we were hoping as producers that with brexit we wouldn't have to provide these documents again because if you've already tried to get these documents they're really annoying but actually that doesn't change so if you take work to europe you still need to provide a1 um if you don't know how how that system works again you can look into the the pricing guides that we put together for extracts there's some explanation and some links to explain you where to get it brilliant so moving on to the next point what changes for the transport of sets and equipment so this really hinges on the scale that you're working to so essentially what are you traveling with how much stuff and how are you traveling so if for example you're traveling with carry-on luggage only so costumes props and equipment or whatever that fits within suitcases there's no real difference um if your equipment fits in you can travel with that as regular carry-on luggage and you don't need what's referred to as a carney that we'll talk about in just a second however if you are touring with carry-on luggage and you're traveling with you know bulk items or something that looks like it could be being imported for commercial use or to sell and make profit from you might consider doing a car even for carry-on luggage so for example if you return with a show with 50 headphones and mp3s it may look like you're taking them into the country to sell in which case the carney would let you take them in and track that you've brought them all out that you've not you've not um sold imported for sale for example any any items so in general travelling with carry-on luggage if it sets props or costumes is generally fine if however you're traveling with a vehicle so this could be either a vehicle you're driving yourself or if you're using a courier service you will need to apply for what's called a carne which is an international customs and temporary export import document and basically the purpose of the the carney is to list you know quite detailed um breakdown of what you're traveling with what it's worth and it gets stamps to say that it's entered into the eu country and then equally as you leave back into the uk it's also checked and stamped to basically say that everything that went into the eu has came back to the uk um which prevents you having to pay any customs duty or tax for imported or exported items applying for a carney is quite a detailed process um and it's broken down in a lot of detail and some of the resources that we'll refer to a bit later on the extracts guide one of the focal point labs that we ran a production manager gave a great breakdown of producing these documents where to go how much it costs how to how to manage them and equally gov uk has a really clear outline of how they work how to use them and how to apply for one so that's a good place to find out some more information about the carnas pre-brexit we didn't need carnage to travel with certain couriers or in bands to the eu but you may have already been doing these to go um to further field and for example us turner canada turn another consideration around how you're moving your equipment if you're driving with your own vehicle your vehicle will need a gb a great britain sticker on your number plate some number plates have them some don't in which case you'll need to source a gb sticker and you'll also need a green card which is a proof of vehicle insurance when you're driving abroad so basically that says as a uk driver you have insurance to be driving in the eu one other consideration again which is determined at eu state by state is you may need an international driving permit to be driving a new in the eu check with the embassy of the country that you're traveling to it's a simple document to arrange through your post office but it may be legally required in order to legally drive in some eu countries thanksgiving uh the next thing to consider when taking equipment abroad is cabotage it's one of the new words i've learned thanks to brexit i never thought about cabotage before so cabotage is in a sense when you take your set of equipment to more than one country inside the eu so you make different stops go to different countries so until brexit you could of course take your take your set and travel around the country around you without thinking too much about it and go from from spain to france to italy to poland back to the uk unfortunately it's a lot more complicated now with the new rules you can only make three stops inside the eu before you need to go back to the uk so what that means is uh so if you if you're based in england you first have to go to france cross go to spain for your first performance then you go to italy then in theory you should go back to the uk and and start again so that makes the logistics of touring extremely complicated um in the in the guides uh we talked to artists who have already suggested a few ways around that and i know that there's a lot of changes happening at the moment to make life a little bit easier so some some uk freight companies have already set up offices in the eu so it means that you take your sets with the uk company to let's say brussels and then the same company the under uh eu hats we'll take it we'll take it from there so that's a lot easier but you need to think about all of that all that extra logistics all the extra time that you may take as well to cross borders and to organize that changeover of raid companies [Music] the next thing that's uh mine might not be so relevant relevant for the arts but just in case uh there's the the transport of merchandise uh so that's for when you when you want to sell goods um i guess they can apply to some of us if we want to sell uh evening programs after a show or if we want to sell i don't know t-shirts or any goodies after a show so if you want to do that in theory you should get what's called an eori number so that stands for economic operators registration and identification number so that's an international number that's free to get you get it through hmrc but that gives you a license to basically sell sell sell your things abroad and obviously you will need to pay taxes on the things that you are selling um just a little tip on that that we've heard from from some companies so kegen was talking about carne earlier in theory you shouldn't be able to includes your merchandise into the carne because the car is really for exactly what leaves and what comes back to the country so if you intend to sell some of that stuff you won't appear on the counter on the way back but some companies have managed to to put together all their all their t-shirts and pretend they were costumes and they managed to find a way around that i'm not suggesting that's what you should do but um um i guess that that take us to the final section of this uh this first part is what we don't know what we don't know is all of those little things um all those tips that people can pick up along the way because because of because of kovid we haven't had the chance to take work to geu yet so there's a lot of things that we know in theory but we don't know in practice so sessions like today are very useful to share information but i think what we all need to do now is just talk among each other and get some tips the first people who are gonna tour to europe i'm sure they will come back with lots of great insight and and practical tips for us to use great um i wonder if it's a good moment again just the switch interpreters thanks everybody brilliant so yeah just to give a quick case study of a uk company who was preparing for eu turin to look at some of this an uh we'll look at a performance called role play by simple cipher so this is three well simple cipher or a hip-hop circus dance company uh they're three uk artists living and working in the uk with british passports we were preparing for performances in the netherlands in rotterdam which was about a week of activity they didn't go ahead due to covid but we did all the prep to end theory tour to perform these this summer in terms of visas it wasn't required in the netherlands so that was a kind of country-specific research they didn't require visas [Music] and equally as we were only going for a short-term one-off engagement it didn't last more than six weeks we didn't require work permits either but this took a lot of back and forth to clarify with uh with the festival in terms of travel we travel with with costumes and props and hand luggage um so no carney or no eori number was required we weren't selling merchandise either and neither did any of her carry on luggage look like we were traveling with commercial um items in terms of insurances they all had their global health insurance cards and then on top of that i had sourced traveling insurance for entering into the schengen area and i guess a few considerations around that was we had to start keeping tracks on how many days artists have been in the eu in all of the eu schengen area um just to make sure that no one was exceeding this 90 out of 180 day allowance and that is for everything it's for work that they're doing with other companies it's for personal travel essentially anything that's entering into the eu visa free within this visitor allowance counts towards your 90 days so from a producing perspective you know we're looking at trackers in terms of tracking the movement of all of our artists in and out of eu for our work and for other work and personal holidays and then just as axel's mentioned this is the first time that festivals are also navigating these changes so it was a kind of combined effort to try and understand is this the right thing do we need anything else um so the run-in time was was longer than previously um obviously when we were part of europe so just something to consider over to your ex so for n word mobility thank you kevin okay so now we're moving on to the second part of the of this webinar so in one mobility so working with european citizens in the uk uh and we're going to cover the same the same question i'm also aware of time so i'm going to speed through some of the some of the answers because some of them are very technical but we've got all the resources uh available that's we talk about that in a minute um but so what exchange now that the uk has left the eu quits the same thing as um yeah same thing as before getting mixed up now between uk and eu um yes so the uk is a third country to gu so we lost a lot of um of rights but we can still uh find ways to work with uh with eu artists uh in the uk uh so i'm gonna talk about the three main ways that we know of to invite um us to work in the uk so the first one is uh the permitted size engagements that we also call ppe um and that's that's good for short-term contracts uh so if you look at the rules you can come to the uk on the permitted paid engagements if you are invited to the uh by a uk organization so there can be a venue a festival a registered company or something like that you come to the uk to do specific paid work and you don't need to be sponsored via the point based system you need to be over 18 and very important you visiting the uk for no more than one month so the permissive paid engagements for one month to deliver a specific task and then you go back home so that can be useful for let's say a venue or a festival that invites french companies to perform they can they can invite the company on the planet paid engagements they can also be useful for a uk company that works with spanish dancers and they invite them for a small tour in the uk or for one month or under a month's range one thing to note about the ppe is that for for european citizens you don't need like special paperwork for that there's a list of documents that you need to provide on the on the government websites it's quite a long list but there's nothing there's no official paperwork you need some meditation later from the from the company that uh that employs you uh you need to prove that you're a recognized artist if you come for a show you need to show some marketing materials but that's that's about the extent of it so it's not too much hard work um but one thing to bear in mind is that um if if a spanish dancer come to the uk via isro let's say or eurostar or any airport actually in theory they can just go through the normal gates and enter the country and they will be considered as a tourist because european tourists can still come to to the uk without any special paperwork but if you come with the permitting pad engagements you need to go through a separate gate where you're going to get a proper stamp on your passport that says that you are here in this country under a permitted paid engagement and what that means is that um the amount of time you spend in the uk won't be deducted from that um 108 days which means that you can still come back in the uk for holiday and all that sort of things without being impacted okay the next one the next way to come to the uk for work is the skilled worker visa so skilled worker visa is for people who plan on staying in the uk for a longer period of time so they they valid for five years sorry excuse me yes they value it for five years and there's a bunch of criteria you need to have a salary of 25 600 or the specific going rates in your in your area that's like a very very long list of craters that you should look on the government website and the final way of getting work into the uk when you're from the eu is the global talent visa so that one is more specifically targeted at artists it also covers people who work in academia and research or digital technology that artists are included in that mix so the difference between the global talent visa and the skilled worker visa that your employers doesn't need to be a sponsor to grant you this visa but what you what you need to have is a certification that you are exceptional i guess in your fields and for us in the arts you need to get a recommendation from us conceal england so it's asking england we'll give uh we'll give the artist you want to work with this um this certificate i guess that's how it's called um i'm aware that there are other ways to uh to come to the uk for work but i think they are more targeted and very very special cases so you can find more information about those things thanks exo so then around considerations for changes for the transport of sets and equipment these are the same considerations that we spoke about for a uk artist to travel to europe so if you're traveling with carry-on hand luggage in general that's fine but as soon as you look at starting to transport uh setter equipment with a vehicle either that you're driving or that you're using courier services or holiers for you're looking at ata carne's which need to be applied for in terms of what we don't know it's really the same considerations this is all you know the information is out there but we're just not aware of a lot of companies who have went through this process yet um and or kind of accurately described how intensive that process was or how much a workload that added on to to their turin so i think we're in a really crucial stage basically covered um made us lose the the transition year that we were supposed to have so we're in a really important year of kind of sharing knowledge and practice with each other to understand what this looks like in reality axel do you want to look at case study yes thank you kevin so a little case study uh so we're gonna look at the show sigma by gaining the juggling so when i'm not at split second i work for games in engineering and they're international development manager and toe booker so i had to think a lot about brexit for for them um so briefly about the show sigma so sigma is a show performed by four artists we have one english artist one eu national living in the uk and two eu nationals living in the eu and our sets installed in france because we took so much influence that we left the set there so what we need to do when we perform in the uk that shows sigma so there's different different things we need to look at so obviously for the for the english artists we don't have anything to do we can just get normal contracts for the eu artist that already lives in the uk there's nothing special to do except except that we need to make sure that this artist has the right to work in the uk so that they have the the settled or pre-settled statues by the way you only have until the end of the month i think to apply for your settle or preceptor status if you're an eu citizen living here so make sure that you do it tell your friends so you can stay and work in this country and the other thing the other people the two eu nationals living in the geu so when we from now on when we're gonna perform sigma in the uk we're gonna do or provide them the documents so they can come to the uk sorry under permitted page engagements so what i was telling you about earlier a litter of invitation all the marketing tools uh fresh clippings about the show everything that proves that they come here for work and that they're gonna come back to their home country right after uh and for the sets so since the set installed in france so we need to organize freight and kame so to get the kane uh we're gonna talk to the french chamber of commerce that's the daily vacanes and uh get all the paperwork uh right there and pay for the candy in france uh get it stamped at the at the french border get this stamped at the uk border and then after the after the the tour sent the the sets back and again get the carne stamps at the uk border at the friend's french border so that we don't have to pay taxes uh in a nutshell that's it for for games and juggling okay great thanks and let's just swap over um interpreters as well let's take a minute do that thank you brilliant so yeah so we're just referring to a list of resources that we will be circulating or i believe have already been circulated in the chat but basically we've pulled together um the sources that we've collated this information from it's a real mix of places some of it's kind of government level um uh guidance uh some of it's more practical um kind of translated for the arts sectors some are art form specific like the the research we've done for extracts and outdoor arts but in reality all this information um is the same and kind of can be translated into the circumstance or the context that you're working in um so that will come out uh very soon and then excel did you wanna should we skip on together yeah yes let's listen once i'm chewing it brilliant so yeah so we just wanted to kind of open the floor a little bit i guess to two things one is we've identified sharing practice and sharing our own experiences is super crucial at this time so when we're interested if anyone on the call has already been having discussions with eu festivals have you been preparing for eu turin or vice versa um or have you even presented work already and is there anything you want to kind of feed into the discussion or share from your experience um if there's not or in addition to that what are the general questions that we're we're trying to understand so maybe let's start with anyone um who wants to share an experience if you want to come on unmute to make yourself known come on chat i'm gonna stop sharing now um we've got a hand up from matia so um yeah let me just put you on [Music] thanks matin hiya um yeah i just wanted to share a recent experience we were talking about the a1 and about the the nightmare of the a1 i have recently worked in italy so i have settled status in the uk and in order to not go through this whole problem of taxes i've been asked to provide a certificate of residence from the hmrc which then the employer could give to the tax authority in italy in order to prove that i was resident and paying my taxes in britain and i have to say that was quite straightforward and quite easy to to get from hmrc in order to communicate to my employer so that was the first time i encountered this way of doing things and i don't know whether that's a different way or whether but what for sure is that it's an easier way than the a1 thank you that's that's great you know i i wasn't aware of that that's really good to know thanks anyone else has anyone been preparing to do work has anyone got their head around carney's um applied for visas all that sort of stuff um and wants to feed into the discussion what that process was like thinking workload is your administrative systems change like i see a few people nodding but it's obviously yeah and well maybe we can also move on to some some general questions yeah i guess yeah maybe i just say on on kind of solutions and and changes to administrative systems part of the the guide that we keep referring to from extracts was a series of case studies from seven companies who were kind of sharing what their how their administrative practices were changing and also how their future creation processes may be influenced by some of these new processes so it's just worth reading that to hear and how companies are adapting but amy i'll let you fire on that's great well we've got a couple of of hands up so maybe we'll go to those first hannah and rhea and i've also got a handful of questions so let's see if we can get through those before the end of the session so um hannah i'm just gonna um add you on this if you want to add your sort of question hello um uh i work with um a a couple of artists as um as a producer and i also advise people on international workings well met you before axel at crying out loud hello um we the artists i will actually hired a um a specific person a two days a week to manage their um touring in europe because it's such a big part of their work and we've just um they've just gone to france to um to do some work there and the only thing i would say is that we were so glad that we did hire that extra person because it was really stressful um trying to navigate covered restrictions which is constantly changing at the moment all of the extra work um they uh one one of our artists is european and has a certain status in britain as well so there's an extra layer of complication there as well but i would highly advise hiring people if you can extra people if you can for more more support can i ask a question on that and like from a financial perspective how that's are you in a position where you've got reserves to just bring in extra staff or is that impacted on your touring costs like what's the kind of how how are you approaching the management of that well we had um and well we've been planning for this for a while uh because um because of kind of brexit so we had already raised some money for that person but we also we also started to increase our fees to pay for extra that extra support so we can kind of uh yeah add that management cost into every single um fee now yeah and i get yeah that's that's a great practical advice and this came up again through case studies that we've done where people were looking at trying to spread those costs over a whole tour rather than you know some festivals may be paying more some standard fees but looking at you know a touring season and trying to cover those costs over that period of time but yeah great yeah thanks anna yeah thank you hannah um so i'm just going to bring in um larea now so uh yeah i don't know if you want to shoot with your question or thought hello um yeah my there's a question it's more i'm not um i work in collaboration with um another artist she is british and i myself and have dual citizenship and we're not at the stage ready for touring work but we're we're making work in spain at the moment uh we have like resident artists at a couple of institutions in this game so just wondering if any of these if there's different rules that apply for when you're making rather touring or if it's the same process it's it's the same process uh the brexit applies to work it doesn't really care what type of work it is so yeah if you look into all the other resources you will find some like explanation of how things work for spain specifically for spain so you can look into that and see what sort of visas you need great thank you that's a great question um so yeah should we move into some of the the more general questions or questions that people have brought up before and let's see if we can whip through them so one person asked um when talking about a work permit is it only if the contract is between you and a schengen area organization what happens if you are contracted by a british company to work abroad this is a very tricky question to answer i feel like to answer this question properly we probably need a bit more information uh because often what i eat when i imagine that there will be a local employer at some point in that stream uh maybe you as an individual is employed by a british company but the british company is in contract with a french or whatever companies so yes you you will need more than and i i would say your direct comparison british answer yeah i'd say even if even if you're a company subcontracting artists to send out like it's fairly standard and the the contract between presenter and um company that it's company's responsibility to have the right permits visas license and like generally the companies sign in and to agree with that you know in practicality what's been looked at at borders if you're traveling with a backpack to go in to do r d for a week who knows but you know legally between well in a contract this is outlined the company is responsible for providing the right documentation and sources yeah absolutely and yeah that sounds like a good a good guideline okay i'm sure there's more to unravel with that but let's move on to another question um someone said we work with artists who are resident in the uk they have settled status but still hold eu passports i think that means they're free to work across the eu permit free is that correct yes so that's uh that's pretty good news for those people who've got the best of both worlds there so that's really good it's good to clarify these things sometimes isn't it hence the influx of um of irish citizenship pre-brexit amazing if i could i would but sadly not um so a question about ppd is it 30 days from the first day of your employment or is it 30 days in the the total of your employment days so thinking about a spread of performance date and a tour for example where you may have some days in between where you're not working officially i can answer that one given um so just to me just to be sure it's keeping e not d uh just to avoid confusion so it's time to pay the engagement made just a typo but just in case um so no ppe are valid for 30 days in total it's not the number of opening days number of days you spend in the country actually i didn't mention that when i was talking earlier but when you go to the border with all the all your paperwork and files you need to show your return tickets you need to show your accommodation so you really need to prove that within 30 days you would have left the country so yeah you can't really spread like on cover tour that spread across two months okay that's good to know um and then the last question that i've got here from the chat we did quite well getting through these is there a fee for paid permitted engagement entry i'm imagine i think that came in a bit where we were talking about people coming into the uk so is there a fee for that no they're free uh because you don't need special paperwork it's all information that you already have that you need to put together yourself that being said speaking is also valid for people coming from outside of the eu so in that case the ppe visa is not free i don't think it costs a lot but it's not free it's just for new citizens who can come to the uk as tourists without design yeah okay i think that's clear oh someone's put in here it costs around 95 pounds for that exactly jeff great question yeah great um so i wonder if we might start wrapping it up i don't know if anybody's got any more burning questions now is the time so either raise your hand or yes matthias got another one go for it i'm so sorry so uh it's about um the sponsorship so i suppose a company it's not i suppose i've understood a company has to be certified in order to be a sponsorship company or a company that can deliver sponsorship my first question is how do you get that and therefore if you can't get it can you partner with another organization who would have the certification in order to sponsor an artist coming from abroad i can try so the process to get to become a sponsor again sorry but it's expanding in the guide so you can look in the guide it explains how you can become a sponsor i think it's quite labor intensive and it's expensive as well i think it depends on your your turnover and how many licenses you want if i remember correctly and that's a few thousand pounds depending on on scale and yes of course if you if you not a sponsor yourself you can partner with an organization who is sponsored and can deliver visas on your behalf i think one of the considerations i'm trying to find the link to paste you around becoming a sponsor but one of the considerations is if is that you have the right um accounting and kind of management systems to to legally be keeping on top of certificates that you're issuing so like with becoming a sponsor you are legally legally um certifying people to come into the country so there comes a kind of a legal and an administrative responsibility that comes with that um i will try and find it really quick close we're wrapping up to paste into the chat for you thank you very much also just to say just in case that's yeah so for the ppe you don't need you don't need to be a sponsor and for the talent visa you also don't need to be a sponsor it's so how can i make a difference in between whether i need for an artist a skill worker visa or global talent visa what will how will i know that which visa is the most valid to a situation i think the best way would be to actually call hmrc they usually they're very good on the phone with uh with that sort of things i had to call them many times for visas in the past and they're very very helpful um there must be some like very subtle differences between one or the other type of job only them will know okay and also i think imagine how how they how they presented that maybe the challenge is good for artists and the always get the name the skill worker visa be more suitable for technicians or producers the more of stage side of things um okay great thank you um just one little comment there from jeff greer who um manages the theatre program at the place it's important to note that a sponsor organization can only sponsor performances that are happening with them they can't sponsor performances across a whole tour so that's probably um useful to know as well um great gosh it's been quite a um it's been like a full of lots of um information but hopefully that's been really useful for everybody i've certainly um learned a lot so before we go just make sure that you get the chat that resource um pack we will email that to you in case you've missed it or you can't download it we'll email that to you i'm also dropping in here just right now in the chat the rest of the webinar so these continue next week we've got one with um louise catarreta i'm just writing in the spelling for you there louise chattarayga um on monday um which is all about the ethics of participatory dance and then on wednesday when we've got one with stuart hayes from fuel on green practice so um all that's left for me i think at this time is a massive thank you to everyone thanks for everyone who came along and listened and for all your attention and questions thank you to um stacy and erin for your um interpretation and a massive thank you to kevin and axel for that whistle stop tour um of excellent information so thanks very much for that yeah great thank you thank you everyone all right thank you so much everybody and take good care see you soon bye

2021-07-06 01:40

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