ACDFA North-Central Region T-shirts and pants are still available to order! Orders are taken through our sponsor, Ink to the People.
The Peck School of the Arts’ Department of Dance welcomes you and your students to the American College Dance Festival Association's North-Central Regional Conference, March 14-18, 2014, at the University of Wisconsin, Milwaukee. We are planning an exciting celebration of dance in higher education for all participants, including a wide variety of master classes, scholarly research presentations, opportunities for student and faculty exchanges in and out of the studio, an audition opportunity for ADF, adjudication and informal concerts, feedback sessions and a Gala Concert. In additional, special faculty seminars and workshops are being planned, and hope to offer the option of faculty peer evaluation for those of you who will be teaching at the conference.
We invite all institutions to attend and participate in the full array of scheduled events, whether or not you are planning to present choreography for adjudication. The experience of taking master classes, attending research presentations, viewing concerts and listening to adjudicators' comments, as well as the energy exchange among dancers and faculty from other schools, has proven invaluable for our students, regardless of their levels of dance experience. ACDFA values diversity and maintains a commitment to the development of conferences that reflect and give value to the various forms, styles, cultural traditions and aesthetic dimensions of dance in performance. We encourage attention to diversity within informal and formally adjudicated concerts, master classes and panel discussions and/or lectures.
Please read through the website for information about adjudication, guest artists, and other conference details. For more information about Milwaukee, UW-Milwaukee, and the PSOA Department of Dance, click here.
The UWM Peck School of the Arts’ Department of Dance is very proud to host the ACDFA’s North-Central Regional Conference this year, and we look forward to have you join us!
TRANSCENDING BOUNDARIES comes from the desire to explore dance as a conduit – a means of communication, contact and understanding -- between people of different races, countries, ethnic groups, economic power, religious beliefs, sexual orientation and political partisanship. It also implies the transcendence of the performance space where dance exists, thus opening new exploratory avenues with no fourth wall, no delimitation between audience and performer – a permeable reality between the two. It suggests communal thinking, acting, reflecting and playing. It surpasses time and space; the power of dance works as a unifying instrument, a ritualistic form of joy, exchange, expression, ecstasy and transformation. The body becomes the language and expands beyond the here and now.
Transcending the boundaries of physical exploration, we are thrilled to share with you the presence of LeeSaar The Company with a Master Class to kick start the conference on late Friday afternoon, as well as former Pilobolus company members Edwin Olvera and Andy Herro as Guest Teaching Artists. In addition, you have the opportunity to attend LeeSaar the Company’s powerful performance of Grass and Jackals on Saturday, March 15, at the Pitman Theatre at Alverno College for a special price of $28 (here). We encourage all conference attendees to explore transcending boundaries via faculty and student proposed presentations, course content, diverse class offerings, Dance on Camera Screening, etc., during the conference.
The opportunity to receive feedback on choreography and performance is integral to every ACDFA conference. We have arranged to have three dynamic and highly respected adjudicators: Gerri Houlihan, Gesel Mason, and Bill Wade. See below for adjudicator bios.
GERRI HOULIHAN began her professional career at the Juilliard School, studying with Antony Tudor, Alfredo Corvino, and members of the Martha Graham and Jose Limon dance companies. She performed with the Metropolitan Opera Ballet and the Paul Sanasardo Dance Company and spent five years as a soloist with the Lar Lubovitch Dance Company touring extensively throughout the United States and Europe. Ms. Houlihan has taught or choreographed for such institutions as NY's High School of the Performing Arts, the University of Wisconsin- Milwaukee, the Bates Dance Festival, the Boston Ballet, the Harvard Summer Dance Center, Meredith College, the University of South Florida, North Carolina School of the Arts, the University of Richmond, the University of North Carolina-Greensboro, and Virginia Commonwealth University.
From 1984-1987, she directed her own school and company, the Boston Dance Project. She was one of five finalists in the Boston Ballet's International Choreography Competition. From 1988-1999, Ms. Houlihan was on the faculty of New World School of the Arts in Miami, Florida. During that time, she was also the artistic director of Houlihan and Dancers. The recipient of two Florida Individual Artist Fellowships in Dance/Choreography in 1991-92 and 1996-97, Houlihan and Dancers was on the touring roster for the state of Florida. She recently became a member of the board of directors for the Florida Dance Association and also for the American College Dance Association.
Ms. Houlihan has been on the faculty of the American Dance Festival from 1981-1983, and from 1987 to the present. As an international representative for ADF she has participated in seventeen international linkages, teaching in Korea, China, Brazil, Paraguay, Chile, Estonia, Poland, the Philippines, Moscow, and Mongolia. She is the 2005 recipient of the Balasaraswati, Joy Ann Dewey Beinecke Endowed Chair for Distinguished Teaching, and received her MFA degree in 2007 from the Hollins University/American Dance Festival MFA program. She is currently a professor at Florida State University.
GESEL MASON is Artistic Director for Gesel Mason Performance Projects. Ms. Mason has performed with Ririe-Woodbury Dance Company, Repertory Dance Theatre of Utah, under the direction of Jacek Luminski, and Chuck Davis. She has also performed as a company member of Liz Lerman Dance Exchange and Ralph Lemon/Cross Performance Projects.
Ms. Mason’s solo project, “NO BOUNDARIES: Dancing the Visions of Contemporary Black Choreographers,” includes the work of Robert Battle, Donald McKayle, Bebe Miller, David Rousséve, Andrea Woods, and Jawole Willa Jo Zollar. It received a National Dance Project Tour Only Grant for 2008/09 season from New England Foundation for the Arts, two Metro DC Dance Awards in 2007, and was supported by the National Endowment for the Arts and National Performance Network Creation Fund. She was selected Emerging Choreographer by the Bates Dance Festival, received a 2007 Millennium Stage Local Dance Commissioning Project from the John F. Kennedy Center for the Performing Arts, and in 2009 was awarded University of Utah’s first Distinguished Alumna Award in Fine Arts and the Washington Performing Arts Society Pola Nirenska Award for Outstanding Achievement in Dance. In 2011, Ms. Mason was one of six choreographers selected by the Joyce Theater for a Rockefeller Residency Initiative in 2011.
Ms. Mason is an arts facilitator and is often sought for her ability to use the arts to engage community. She traveled to Serbia and Poland to lead performances and workshop with dancers and non-dancers of mixed abilities including wheelchair users and partially blind participants. She has designed arts programs for schools, and non-profit organizations, and created movement workshops for diverse populations. She has been Visiting Artist at University of Colorado Boulder, University of Utah, Texas Women’s University, Columbia College, University of Maryland at College Park, University of Maryland at Baltimore County, and Virginia Commonwealth University. She has served as an adjudicator for several American College Dance Festivals.
Ms. Mason’s choreography has been presented by numerous venues and festivals including Joyce SoHo, 651 Arts, South Dallas Cultural Center, Painted Bride, Dance Place, the International Contemporary Dance Conference and Performance Festival in Bytom, Poland, DanceAfrica, and the International Association of Blacks in Dance. Her most recent project, “Women, Sex, and Desire: Sometimes You Feel Like A Ho, Sometimes You Don’t,” was commissioned by the Clarice Smith Performing Arts Center and made its New York premiere at Joyce SoHo November 2011.
BILL WADE, recipient of the 2012 Cleveland Arts Prize, is the Founder and Executive/Artistic Director of Inlet Dance Theatre, which is an outgrowth of his previous eleven years as an Artist in Residence at Cleveland School of the Arts, where he founded the YARD (Youth At Risk Dancing), a nationally recognized and awarded after school program. In 1998, he received the Coming Up Taller Award at the White House in Washington DC from the National Endowment for the Arts and the President’s Committee on the Arts and Humanities. This past April (2013), Bill received an award for Outstanding Contributions to the Advancement of the Dance Art Form from OhioDance.
Mr. Wade was chosen by Ohio Arts Council, the Ohio Arts Foundation, Inc., Playhouse Square Foundation, the U.S. Department of State Bureau of Educational and Cultural Affairs, and The American Embassy in Santiago to conduct an award winning multi-phase international artist exchange program with artists from Easter Island (2006-2008). His company, Inlet Dance Theatre, conducted a two week residency of performing and teaching on the island in April of 2008. Bill is on the roster for the Ohio Arts Council’s Artists in Residence Program, conducting community residencies at area schools and in collaboration with arts organizations. He served on the Ohio Department of Education’s Committee for the Arts and Innovative Thinking. In the 90’s, he enjoyed a long-term mentoring relationship with Alison Chase, former co-artistic director of the world renowned Pilobolus Dance Theater. Alison Chase collaborated with Bill and students from Cleveland School of the Arts, creating “An Urban Nutcracker,” which received national attention from DanceMagazine, TIME magazine, and garnered a rave review in the Wall St. Journal. He collaborated on projects with the Cleveland Orchestra, Cleveland Museum of Art, the Ohio Ballet, PlayhouseSquare, Cleveland Center for Contemporary Art and even Major League Baseball. His work regularly appears in theaters, on television, at schools, in newspapers, and in magazines. He choreographed a short program in the 1992 Winter Olympic Games in Albertville, France for Chinese-Taipei free style ice skater David Liu. Bill set choreography on Ad Deum Dance Company (Houston, Texas), New Trails Dance Theatre (Oakland, California), taught and set choreography on dancers at Youth With a Mission (Lakeside, Montana), and on dancers at the dance conservatory of Belhaven University (Jackson, MS).
Prior to founding both Inlet Dance Theatre and the YARD, Mr. Wade was formerly the interim artistic director and dancer with Footpath Dance Company. He resides with his wife (Kristin) and son (Austin) in Chagrin Falls, OH.
We are thrilled to share with you the presence of LeeSaar The Company with a Master Class to kick start the conference on late Friday afternoon, as well as former Pilobolus company members Andy Herro and Edwin Olvera as Guest Teaching Artists.
LeeSaar The Company was established in Israel in 2000 by Lee Sher and Saar Harari. The company uses the different disciplines and training of Theater and Dance to create original dance performances. The company members are from Taiwan, Korea, the United States, Malaysia, Canada and Israel. In 2004, after residency in Sydney, Australia, and two seasons in Tel Aviv, the company moved to NYC where it is currently based. In 2005, Lee and Saar received American green cards awarded for excellence in the performing arts.
Andy Herro, a Marquette University grad with a degree in Theater Arts, trained under the guidance of Darci Wutz. After graduation he was offered a job dancing with Pilobolus Dance Theatre where he created works and performed for seven years, serving three of those years as dance captain and one year as rehearsal director. In his time with Pilobolus he had the honor of performing around the world in countries such as Italy, Australia, China, Brazil and Iceland. He has also performed on Regis and Kelly, Oprah, Ellen and at the Academy Awards. For a period of time, Andy along with Pilobolus and EMC, held the Guinness Book World Record for the most people crammed into a new model Mini Cooper. Currently, Andy manages a 3,000 cow dairy farm in northern Wisconsin where he lives with his wife and three children.
Edwin Olvera, a proud Wisconsinite, has spread his wings far and wide. His skill and ability has been of worldwide note as he has performed and taught in locations across the globe. After attending UW-Milwaukee’s Peck School of the Arts, Edwin joined the world renowned dance company, Pilobolus Dance Theatre, where he was an integral force in the choreographic and creation process over the course of four years. During this time, he was featured on countless television shows and commercial advertisements including Sesame Street, Born to Dance, and the NFL Channel. Edwin has collaborated with international artists Inbal Pinto and Basil Twist and has been featured in articles by both Dance and Dancer Magazine. His most current work includes choreography and artistic direction for an evening length performance in collaboration with the Emmy award nominated lighting and production company, IG Designs. See Olvera's work here.
Cedric Gardner was a top 14 finalist on the 3rd season of the American dance contest series, “So You Think You Can Dance.” Dancing since a young age, he began formal dance instructions at the age of eighteen. He studied for two years at the Peck School of the Arts, University of Wisconsin, Milwaukee. He also studied and practiced at The Millennium Dance Company and The Edge Performing Arts Center in Los Angeles, CA. While attending the Peck School of the Arts, Cedric decided to form his own group, creating Fuel, a Hip Hop dance company based in Milwaukee, Wisconsin. For four years he choreographed full length shows for Fuel performances. During this time Fuel also performed with Neil Young's “Greendale,” and under his artistic direction had the privilege of opening for entertainers such as; Little Bow Wow, India Arie, and Fantasia Burino.
Opportunities have continued for Cedric after appearing on “So You Think You Can Dance.” As a working professional dancer from Milwaukee, WI, Cedric has had the privilege of working with some of the most elite choreographers such as: Brian Friedman, Debbie Allen, Dave Scott, Mary Murphy, Mia Michaels, Napoleon and Tabitha, Nick Flores, Poppin Pete, and Shane Sparks. His unique and innovative dance technique has given him the opportunity and privilege of performing with, Gloria Estefan, Herbie Hancock, Neil Young, NEYO (Macy's Celebrity Catwalk), and Sheila E. He has also performed on “Macy's Celebrity Catwalk Challenge,” "The Voice,” "Fresh Beat Band," and “America Idol Gives Back.” Cedric had his first film appearance in a Wayans Brothers Production, “The Dance Flick” and he was also featured in the film “Step Up 3D” which was released in 2010. Cedric is now working on the Nick Jr. TV show "Yo Gabba Gabba."
Get a taste of some of the newest offerings from the exciting genre of dance on camera in this experimental shorts program from the 2013 Dance Film Association’s annual festival.
Saturday, March 15th from 7:30-9:30pm we will be hosting a Contact Improvisation Jam with musical accompaniment from the conference musicians. All are welcome to participate, watch, and enjoy this evening of improvisation. This event will take place in Mitchell Hall, room 254.
We are looking to create a series of classes grounded on somatic principles. Think about submitting a class, a panel, a series of one-on-one experiences, a talk, or a research presentation focused on integrating and underlining mind-body principles in dance technique teaching. When you submit your teaching interest information, please note if you want your class to be a part of this series. All somatic based classes will have a small symbol on the schedule indicating they are part of the Dance & Somatic Series.
We are excited to be able to arrange for BOTH an ADF information session and ADF Audition as part of our ACDFA 2014
Attached you will find a flyer for the audition and a document with a bit of information about the logistics of the audition as well as general ADF info.
(They will do a 30 minute session to give the students 15 minutes before and 15 minutes after to grab food and then get to their next class.)
This will be a sharing of general ADF info with a spotlight on ADF's different scholarship opportunities. They offer lots of work study scholarships that students do not need to audition for, so this would be a great time for students who might be interested in applying for those to get more information and ask questions. They'll also just be talking about the festival as well, so this session is not audition or scholarship specific.
Life moves at warp speed. We know how that feels. But do we know how it looks? And can we see how something so consistently new and disorienting is also beautiful? LeeSaar The Company makes dance that discovers the beauty within the swirling vortex of the new. Described by The New York Times as never less than remarkable to watch, LeeSaar’s latest, grass and jackals, luxuriates in extremes both powerful and delicate, grotesque and gorgeous, all the while ricocheting from climax to climax.
The way we all interact with our environment is through movement. With an increasing dependence on technological advances, our movements have become more automated and routine, which leads to both physical and psychological stress. As habitual movers, we rarely think about how we move, and when we do we often attempt to direct ourselves as if an outside observer was providing a posture for us to imitate. Somatic methods, such as the Alexander Technique, are one approach to affecting one’s balance of intention and attention during movement within the environment. The Alexander Technique has been successfully used with a wide range of performers from elite dancers to patients with severe neurological problems or pain. In this symposium we will bring together Instructors of Dance, Physical Therapists, and Alexander Technique teachers and practitioners to discuss and experience the relations between attention and intention to action from a variety of perspectives. We are extremely honored to have Glenna Batson, PT, PhD, AT Instructor, Professor Emeritus at Duke University as our keynote speaker.
· All groups and individuals registered for the conference are eligible to perform in the Informal Concerts.
· In the interest of creating opportunities for many schools, only one dance per institution may be shown in the informal concerts.
· In anticipation of enthusiastic interest in presenting works, we are limiting the length of each piece to a maximum of 10 minutes for each work presented in the Informal Concert(s).
· The burden of meeting the time requirement rests with the choreographer. ACDFA recommends that the choreographer allow a time margin within the 10-minute limit for technical errors or theater peculiarities.
· As an Opening event, we are presenting the first of two Informal Concerts on Friday, March 14th. We want to know as early as possible how many schools are available to perform on the first evening of the conference. PLEASE CONTACT the Conference Coordinator at uwmnc14@uwm.edu if you are able to present in the opening night Informal Concert.
· Dances presented in the Informal Concerts are restricted to work not being adjudicated. Works-in-progress may be shown.
· A sound recording of concert quality must be provided by the choreographer in the format specified by the Conference Coordinator (more specific information is forthcoming).
At this time, we are planning for the conference to begin 2pm in the afternoon of Friday, March 14th, 2014, and to conclude with a post-gala reception on the evening of Tuesday, March 18th.
All conference participant are required to sign the Liability Waiver (faculty, students, musicians, technical directors/assistants). In order to save paper, we are asking all registrants in a group to sign one waiver. It is important that each registrant understands the terms of the waiver. Faculty are strongly encouraged to review the terms with all participants.
Each choreographer or representative of a choreographer (for a guest choreographer) of a dance chosen to be performed in the Gala Concert must complete and return a signed Video Waiver which will be provided after selections are made by the adjudicators. Please note that videos are for archival purposes only.
One of the biggest questions a prospective client asks me frequently is “What are Regpack’s best features?” or “What features does your software offer?” or “How do Regpack’s features compare to company X?” The “features” question isn’t a bad one, and of course there is a good answer to it (and yes, Regpack has more features than most software out there and all at the same price!). But the problem is these are not the correct questions to ask when looking for an online registration software and evaluating registration software features for your organization.
That is why I like to frame my response with “Regpack has these solutions that can do THIS for your organization” as opposed to a long list of features we have as if to say that more features must mean our software is better. Even better, I love asking instead “What problems are you finding with your registration and let’s figure out WHAT can help you solve these!”
This trend is one I’ve noticed all across the software and business world lately. The endless search for features! Just look at software reviews on CNET and you will see that there is a table comparing features of different software. Apple loves to boast about thousands of new features in their latest operating system release as does Microsoft. Everyone is obsessed with features! Features! And then some more features!
But let’s stop for a second and think about what you really need from a software (or whatever product you’re looking at) and frame our question in the following way: “I have problem A, does this product solve this problem?” The idea is to look at the problems you are trying to solve and not look at the abilities of the system you are inspecting. A software can offer HUNDREDS of features, none of which are useful to you or your organization, so is it worth using it just because of a long list of features? Remember, sometimes less is more!
If you take one thing from this post it should be this: Look at your problem and seek a solution for it, not the other way around! This might sound really simple but very few people actually do it. In order to show how this works I want to talk about one “feature” everyone seems to be looking for with online registration software: “timed emails”. Organizations are always saying how they need emails to be sent on a specific date and time so they want a software that will let them schedule this so they don’t have to think about sending it on the exact date and time. I will start with the fact that Regpack does have timed emails so you do not think that I am trying to explain why you do not need something we don’t have. So let’s look at this specific case study (if you would like me in a future post to look at a different case study just let me know in the comments section).
While “timed emails” sounds nice in theory let’s try to break this down according to the “problems not features” idea. The first thing to do is try to understand what the problem is that we are trying to solve.
Based on my experience it seems that different organizations try to solve different problems with this same ‘solution’. The idea of timed emails is to send over information to the user on a specific date and time. So the ‘problem’ isn’t that you want to send timed emails but can’t. The problem is you have a certain amount of information you need to communicate to clients, and there are many ways to do this or many “solutions” depending on what information you’re needing to send. Timed emails aren’t necessarily always the answer.
While it might be nice to not have to remember to send an email on a certain day and time, this ‘feature’ actually gives you no control over the registration process. What if the list of recipients changes from the time you schedule the email and the time it sends? Why do you need to schedule a specific email so far in advance? Am I making sense? No? So, let’s look at some examples and I’ll start to (hopefully). There are different problems that can bring you to the conclusion that you need timed emails. Let’s look at each.
Problem: Communicating the status of an incomplete registration to a user after they left the site so they can complete it.
The real problem here is that users did not complete the application the first time around. This could be due to three possibilities:
The user got frustrated with the registration software since it was asking them a lot of irrelevant questions.
Timed emails might solve the first problem but not in a very elegant way. In order to make sure that the applicant completes the application on the first round the system needs to:
Have a dashboard that clearly states what is complete and what is not in a color coded way (red not complete, green complete).
Make sure that every applicant gets only the questions that are relevant to them (i.e. conditional logic)
This is just a short list of things that need to happen and in this list there are about 37 features I can think of off the top of my head. Do you really care about them or do you care about the fact that the system will solve the problem of people not knowing they have not completed their application.
Timed emails are actually a pretty bad solution to this problem. Why? It would be much better to automatically send an email to the applicant that did not complete their application but left the process with a list of incomplete items. When they are “in the process” there is a much better chance that they will go back into the system right away and finish it up.
Problem: “The applicant did not have all the needed information in order to complete the application”.
The real problem here is that you do not allow the user to flow through the application and actually come back to it later in order to complete the incomplete sections!
This can happen a lot. Let’s say you need their passport number or you need their annual income and they do not have that information handy. Will timed emails solve this problem? Most likely no. In order to solve this problem you most likely need to give the the following tools:
When logging into the system, it should take them directly to the incomplete information so they can fill it out right away.
A great solution in this case is an email with very direct action items on what is incomplete that arrives in their inbox right when they logout.
A timed email is a pretty bad solution to this problem since it will come in too little, too late. You need to give them the ability to solve the problem right when they have the information handy.
Problem: “The user got frustrated with the registration system since it was asking them a lot of irrelevant questions”.
Well… that is just a bad registration system. Period! Annoying your users with timed emails to enter an annoying system that asks them irrelevant information will not get you more people completing your registration process. It will just get you more people marking you as spam or sending you support emails that they do not know what to answer on question a, b, and c. The solution here is a conditional logic engine that makes sure each person is asked only the questions that are correct for them.
Again, timed emails is not the solution. It will actually make the problem even bigger. You will suddenly need to deal with support issues, annoyed clients and so forth. If your registration system is that bad you just better get on the phone with them and get the information you need from them manually. Or better yet… start looking for a better registration solution.
The registration system does not include an integrated payment solution so they need to go to a different site to pay and they are not doing it. Or worse, need to mail a payment form and/or check to you via snail mail.
The user did not have their preferred payment method with them (let’s say their debit card) when registering and they wanted to come in and pay later when they have it with them.
Will timed emails resolve these issues? With the exception of item 3 that a timed email can solve in a very insufficient manner in all other cases it is actually a pretty bad solution. Your goal is to not need to remind people they need to pay but for it to “just happen”.
So let’s look into the various possible solutions that will actually solve the problem based on the possible reason for it.
1. The online registration software does not include an integrated payment solution so they need to go to a different site to pay and they are not doing it.
The solution is pretty simple here: get an online registration software that does have an integrated payment solution. According to this research when you are sending people to an external site for payment (even one everyone knows like PayPal) you are going to loss 27% of your applicants. Yep, 27%! Pretty crazy. A timed email will not solve the fact that they are not sure they are arriving to the correct place to pay. If you need more proof why offering online payments is necessary, here it is!
Yes, you can time the emails to them and send them reminders but wouldn’t it be better to put them on a payment plan that the registration system will automatically charge on the correct dates and will notify them before doing so? Obviously that is better.
Let’s say that that is not an option, then sending out an email to everyone that needs to pay will be an overkill. You need a system that allows you to easily search and filter your results so you’re first sending the right email to the right people, and then easily allows you to send your email. To be clear, this isn’t a TIMED EMAIL, this is sending an email in real time, but with the ability to filter and find the exact people you want to send an email to, a system that can populate the email with the recipient’s personal information and send immediately. You might think a ‘timed email’ feature is what gives you control over your registration process, but THIS ability is actually what gives you control!
Again payment plans is the solution. After all, you have their payment method saved from the deposit. And if the system does not save the payment method that is a whole different problem…
4. The user did not have their preferred payment method with them (let’s say their debit card) when registering and they wanted to come in and pay later when they have it with them.
Sending them an email right when they log-out (automatically!) is actually a much better solution! You should also allow them to automatically login through the email that you send them and direct them right to the page they did not complete.
You should always have a way to make the client feel that if they do not act they will not have a space when they do want to come. This can be done by presenting the overall number of remaining spaces and showing it is going down while they are logged in as a motivator. Part of the solution to this problem, however, might benefit from timed emails. Emails explaining the value of your offering in 3-4 emails that come a few days after they logged out and did not pay might encourage someone ‘on the fence’ to pull the trigger.
I can go on and on with additional problems, the possible reasons they are happening and the solutions that need to be implemented. Each one of them will have many many features that need to exist. But you should not care about that. You should care about the problem YOUR organization has and when looking for an online registration software you need to communicate that to the sales person you are talking to. See if they have a solution, not a feature since 99% of the times the solution will demand multiple features.
Just like if you’re buying a new computer for personal use. Do you care about the features that improve business tasks or what features make it great for gaming, if you are both not using the computer for professional or gaming reasons? It might sound nice at first to think that what you are about to buy has lots of THINGS! But are these things relevant to you? Are you paying for something you don’t need and there is possibly a better solution out there for you, at a better price!?
If you only leave with one thing out of this post it should be this: Look for solutions, not for features! Leave the feature game to geeks in Silicon Valley, we are really great at it but don’t let it blind you when trying to make the best choice for your organization.
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