Event_planning_and_Evaluation_StrategiesWeek_3_2822017Planning_and

Event planning and Evaluation Strategies

Week 3 28/2/2017

Planning and Scheduling

What is the Event Concept?

Vision and Mission

SMART Objectives

SWOT Analysis

Choosing the Date

The planning process is one of the most important aspects in successful Event Management: the more robust the plan, the smoother the journey to success.

GENERAL INTRO

The key to a successful festival or event is in the planning. Creating a project plan is the first thing you should do when undertaking any kind of project Often project planning is ignored in favour of getting on with the work. However, many people fail to realise the value of a project plan in saving time, money and many problems.

The purpose of project management is to foresee or predict as many dangers and problems as possible; and to plan, organise and control activities so that the project is completed as successfully as possible in spite of all the risks. The ever-present element of risk and uncertainty means that events and tasks leading to completion can never be foretold with absolute accuracy.

Careful planning is the secret of a successful event, and this means starting well in advance - whether months ahead or even years. Remember you may be in competition with other events for visitors, preferred dates, facility hire such as marquees, 'portaloos' etc, so the sooner you book your requirements the sooner you can relax and start planning the details.

The three key decisions to make are:

1. What The Event Concept

Having a concept idea is the start of the planning process. Big ideas often start small - some of the biggest established festivals started as modest, one-off events - so if you think you have a good idea for a special event, research it further and test it on other people.

Successful events are usually based on a strong concept and purpose. Ideas for holding events arise from a multitude of reasons. For example your idea may have come from a need or desire to:

> Celebrate a unique aspect associated with your town or area

> Showcase or develop a particular cultural or sporting activity

> Mark an historic occasion, national day or local holiday

> Host or create a competitive or mass participation sporting event

> Encourage more visitors to come and spend time (and money) in the town/area

> Improve or refocus the image of your town/area

> Encourage and celebrate community activity

Vision and Mission

by defining the vision and the mission (or purpose) of the event at this stage, you will be able to more clearly communicate to others what

you hope to achieve, thus providing focus and direction for everyone involved (including potential funders).

Your vision statement should be a short statement that describes, in broad terms, the event’s long term aim.

The mission statement sits underneath this and gives more detail about how the vision will be delivered.

What are you doing/ Why are you doing it and who are you doing it for?

SMART

Specific, Measurable, Achievable, Relevant and Time-Based

SWOT

simple ‘SWOT Analysis’ to help consider all possible aspects

Event Management – experience within the organisation, staffing numbers and structure, financial stability, viability of planning, confidence of funders, > Partners/Clients – the support they can/cannot provide: finance, influence, resources, etc

Climates – social, economic, cultural and political

Event Benefits – what the event offers, its ‘Unique Selling Point’ (USP)

Potential to Develop and Grow – factors that will assist or hinder this

The Date

The choice of date for your event can have a major impact on its success. Careful consideration should be given to the range of risk factors involved in selecting the best date. What is the best time for the event? Try to avoid clashes with similar events and work with other organisers to realise the benefits of joint planning and promotion.

Is it an outdoor event; does it need to be staged in a particular season

Weather – what are the probable weather conditions at your preferred time of year; will inclement weather affect the event; are there contingency opportunities available?

Target Audience – who are you hoping to attract to the event: is this more achievable if it is staged at a particular time of year, holiday time, at the weekend, mid-week, etc?

Clash Diaries – what else is happening at the chosen location/venue; is the event diary overly busy? It’s worth talking to your local authority, - Competition – are there other similar themed or scaled events taking place that are targeted at the same audience? Is there room for your event in the marketplace at your chosen time of year?

AND Never underestimate how long it takes to plan an event and don't leave anything to the last minute. You need time to put together teams of staff and volunteers; time to raise funds; time to involve all the necessary community, council and other bodies; time to obtain permissions and licences and time to publicise and promote the event.

Choosing a Venue

Use rating criteria to compare venues before you make the final decision

Accessibility

Audience Capacity

Parking

Security

In-house production facilities

Catering/Bars

Availability

Hire Cost

Once you know what type of festival/event you plan to hold, you can choose a suitable location and venue. Make sure you visit the site to assess its viability. Check that it meets the legal Health and Safety requirements. Make sure that the venue facilities and services are suitable for the main event. Think through your requirements for indoor and outdoor space. Don't forget to consider undercover protection in bad weather.

Check that the facilities and services are suitable for any fringe entertainment and activities.

Before you decide on a venue, consider:

Accessibility

Audience Capacity

Parking

Security

In-house production facilities

Catering/Bars

Availability

Hire Cost

Planning Element	Processor	Red	Red	Yellow	Yellow	Green	Green	Comments
		Earliest date	Latest Date	Earliest Date	Latest Date	Earliest Date	Latest Date
Concept /Event Design
Form Committee
Produce Planning Schedule
Research And Set Date
Open Bank Account
Firm Concept/Theme
Find Venue Location-Book
Establish Funds
Establish Permissions needed
Check legal obligations
Organisational Team
Liaise Attractions/other events
Establish who does what
Get Date into Events Lists
Start Permissions Process
Draft Budget
Insurance-organise/quotes
Develop Marketing Plan
Start Booking Artists/others
Sponsorship

The Event Action Plan

The Event Action Plan the Event Action Plan is a live management tool that details key project milestones and activity against a timeline – it should be continually reviewed and updated as the event planning and operations progress

helpful to table the plan on a month-by-month basis to help build a chronological calendar of tasks leading up to the event. Remember to build

in contingency time for any tasks you are not certain can be completed by a particular date or for those that require outside influence or assistance.

Planning Element	Processor	Red	Red	Yellow	Yellow	Green	Green	Comments
		Earliest date	Latest Date	Earliest Date	Latest Date	Earliest Date	Latest Date
Develop PR/Media Plan
Web Site
Chase Permissions
Apply for Funding
Apply for Signage
Finalise Budget
Finalise Marketing/PR plan
Finalise Sponsor Funding
Develop Operations Plan
Contingency-Risk assessment
Health /Safety/Security
Transport control
Emergency plan
Emergency Services
Confirmation Bookings-artists
Marketing/Full PR
Weather
Operational Plan
Venue
Services/Facilities
Entertainment/Media
Staff/Training
Dealing with Visitors
Catering/Merchandising
Administration

ARTS FESTIVAL STRUCTURE

There are no ‘off the peg’ organisational structures that can be employed to deliver events. Each event is as individual as the objectives it aims to achieve – and the people that deliver it.

Gov

Charitable Trust or Company

Committee/Board of Directors/ Trustees

Festival Management

Artists Venue Audiences

Festival Committee/Board of Directors/Trustees

Non Executive

Governance

Policy

Strategy

Government Relationships

Fundraising

Not Artistic

Not Managerial – recruit the Festival Director

But Legally Responsible

Organisation Roles

Festival Director or Artistic Director

The creative force behind the festival, sets the vision, chooses the artists, outlines the programme

The public face of the festival with an important fundraising role

Festival Producer or Executive Director

Delivers the festival chosen by the artistic director

Responsible for all the logistics of organising the festival

Manages the team for technical production, administration, marketing, fundraising.

Key Festival Organiser Roles

Marketing Director

Marketing and Communications

Public Relations

Media Relations

Audience Development

Ticket Sales – Box Office

Sponsorship Director

Fundraising

Commercial sponsorship

Trusts and Foundations

Individual Giving

Key Festival Organiser Roles

Administrative/Finance Director

Finance

Budgets

Administration

Licence/Insurance

Sponsorship Director

Fundraising

Commercial sponsorship

Trusts and Foundations

Individual Giving

Key Festival Organiser Roles

Technical Director/Technical Producer

Lighting

Sound

Staging

Venues

Crew

Typical Festival Organisation 1

Festival Committee

Festival Director/General Director

Finance Director

Festival Producer

Technical Director

Marketing Director

Sponsorship Director

Typical Festival Organisation 2

Festival Committee

Festival Producer/Executive Director

Artistic Director/Guest Director

Finance Director

Technical Producer

Marketing Director

Sponsorship Director

Finance

Financial Planning

Before you Start - Quantify the Risk

Setting a Detailed Budget

Preparing a Cashflow Forecast

Good financial management is fundamental to the delivery of successful events. Our advice is simple: plan ahead, be realistic, keep on top of your budget and implement control systems that work for you.

Right from the start, ensure that you set a realistic budget with inbuilt flexibility and identified contingencies. If you are looking to raise public funds or sponsorship, don’t approach a potential funder until you are able to present a realistic outline budget.

Remember, you need to convince yourself of the event’s financial viability before you can convince others

2/21/2017 2:46 PM

Festival expenditure is mostly on Programmes

Running costs/overheads

12%

Production, performance

and exhibition costs

55%

Marketing

Other expenditure

Staff costs (core,

freelance and seasonal)

22%

The British Arts Festivals Association (BAFA) “Festivals Mean Business 3” researched the contribution of arts festivals in the UK.

Over 5m attendances were estimated across 193 participating festivals. They made a direct spend contribution to the economy of an

estimated £41.8m. This figure does not account for the considerably higher secondary spend of festival attendees. When measuring the economic impact, the greatest impact was made by audiences’ spending money on hospitality, accommodation, retail and travel

Total expenditure in 2006-2007, reported by all 193 participating festivals, was just under £34m with only 25% of this coming from the public sector

Arts Councils

12.0%

National Lottery

0.9%

County Council or Unitary

Authority

13.1%

Borough or District Council

2.2%

European

0.0%

Other contributed income

2.9%

Individuals

2.8%

Businesses

12.2%

Trusts and foundations

11.3%

Ticket sales

33.6%

Additional sales (eg. bar,

food, programmes)

3.7%

Advertising

2.1%

Membership fees

1.2%

Interest on invested funds

0.5%

Other earned income

1.5%

Festivals have varied income sources

Festivals have never been reliant on a single income stream and have always been very capable when generating revenue from a wide range of sources. This survey shows that a typical festival budget is made up of a diverse range of income sources with new revenues, such as individual giving starting to make an impact. Box office income continues to be the largest single income, indicating Ticket sales form the largest proportion of festival income at just over a third of total income (33.6%).

Local authorities (county, district, city and borough) together provide just over 15% of funds, with Arts Councils supplying a further 12% of total income (including Grants for the Arts).

Trusts and foundations and private businesses contribute a larger proportion of income, at around 24%.

Revenue collected from advertising (2.1%) and additional sales, such as merchandising and catering (3.7%) are relatively small

Fundraising – during 2006-2007, member festivals were successful in leveraging an estimated

£5.2m of funding from local government,

£5.4m of funding from Arts Councils,

£4m in grants from Trusts and Foundations and

£6.7m in donations from businesses,

= giving a total of £21.3m.

Example Budget Template

The template from Event Scotland gives an example of the kind of entries that may be appropriate to your event, but your entries should of course be specific to your particular situation:

Those applying for (and in receipt of) public funds will be required to provide detailed financial information about the event and wider company finances. Never try to ‘fudge’ figures or provide misleading information. Funders will often require sight of your annual accounts and may well reserve the right to carry out an audit to ensure their funds have been used in the agreed manner

Marketing & PR

The Event

Its Unique Selling Points

Your Competition

Target audience

The key message

Ways of reaching people

Time schedule

The marketing budget

Planning a marketing campaign

If you want people to take part in your activities, marketing is an essential and inherent part of what you do. It is about communicating with people who are interested in what you are doing, giving them access to something they want, and building a closer relationship with them.

Your product

Why are you doing this work, now?

What's the central idea?

How do you want the audience to feel when they leave the event/ theatre/ gallery etc?

2. The key selling points 'USPs' - Unique Selling Points)

Decide what is going to attract the most people to your 'activity'.

3. The competition

It is worth finding out who you are competing with. Try to discover: What they are offering; How your product differs from theirs; What gives you the edge

4. Your target audience

identify the people who are most likely to participate in your activity - your target audience. identify who you think the main audience will be, so you can target the right people.

Ask yourself how old your core audience is likely to be. Will they have young children, be grandparents or students? Are they likely to work in similar jobs or professions?

5. Your message

By developing a creative concept - usually an image or a slogan - you can create a central reference point which will become identified with your product..

6. Ways of reaching people

Once you know who you are targeting and where you are likely to find them, you can decide which marketing activity will be most appropriate. List your target audiences and think about the different ways of reaching them.

Flyers, leaflets and brochures

These are some of the most flexible marketing tools as they can be used in a variety of ways.

Leaflets can be distributed: door to door direct mail or handed out at similar activities. But make sure you include your contact details so they can respond. PR Press and media stories are an effective means of reaching a wide group of people. Feature articles in local newspapers, magazines and on radio are more likely to reach target groups.

Online

The website should be the prime communication and loyalty building tool

Generate an e-mailing list:

Maintain up to date information on Facebook

E-mail template produced + regular e-shots to mailing list

E-newsletter one month before Festival – cranking up the excitement

Word of mouth Personal recommendation is an effective means of getting people to participate in your activities. However it doesn't happen spontaneously.

8. Your budget

Whatever marketing you do it will cost either time, money or goodwill (and probably all three).

It will pay to think and plan carefully, and spend your time and money on a few well-selected marketing activities which you carry out well

If money is really tight, concentrate your budget on attracting media coverage and personal contact.

Marketing & PR

Demographics and Psychographics

Where do they come from and who with?

What else do they do?

How old / what sex are they?

What are their values?

Market Research and Analysis

It is expected that in the current financial climate people will attend fewer festivals, being more selective in their demands, making choices on quality of experience based on vibe and atmosphere, social interaction, top notch facilities: camping, toilets, showers, as well as the music programme.

Global trend analysts have described a growing, powerful societal desire to share, engage, create and collaborate in large numbers, embracing ethical, green, organic, fair trade values. This is apparent particularly amongst younger target markets and increasingly in family choices. Research into current and potential audiences through geographic, demographic and psychographic analysis would inform both marketing and sponsorship strategies.

Market Research and Analysis: Research relevant markets. All events and festivals, large or small, must target the people who are more likely to visit their event. Identify which markets are right for you

Understanding a market psychographic profile is essential in knowing how to market to them

Demographic factors are great for excluding markets if local festival - waste of time marketing to people overseas or even in next city

Psychographic Research soft research

Peoples priorities, what do they do for recreation/hobbies; are they trendsetters, opinion leaders or followers; are they sports fans, what is there interest in the arts

Demographic

Age and lifestyle (kids in school, empty nesters, retired; marital status occupation; where they live; annual income; internet use concert or theatre going habits; What kind of newspaper do they tend to read

Marketing & PR

Direct mail

Internet & Social Media

Advertising

Information outlets

Communications Plan

Marketing Communications Activity Plan Produce activity plans to illustrate how you are going to attract business from your target markets. Consider:

Advertising - where, when, frequency?

Direct mail - to whom, using which database, saying what?

Internet - website, email? E-newsletters, social networks, Facebook, twitter

Information sources - Tourist Information Centres, event lists, accommodation operators, signs

Operations

Entertainment Licensing

Eg. Plays ; indoor sporting events ; live music , recorded music; performances of dance ; (not fireworks!)

Temporary Event Notices (TEN)

Permission for provision of regulated entertainment for 168 hour period and for 499 or fewer persons.

Apply before 10 working days prior to event

Only police may intervene to prevent the event

Cost £21

Do you need a licence?

The provision of regulated entertainment - Plays - Films - Indoor Sporting events - Boxing or wrestling entertainment - Live Music - Recorded music - Performances of dance - Entertainment of a similar description to Live Music, recorded music and performances of dance - Provision of facilities for Making music - Provision of facilities for Dancing - Entertainment of a similar description to making music and dancing

The environmental health authority now has the right to object to a Temporary Event Notice in addition to the police

where the entertainment takes place in the presence of an audience and is provided for the purpose, or for purposes which include the purpose, of entertaining that audience.

Entertainment facilities are defined as facilities for enabling persons to take part in making music, dancing or similar entertainment for the purpose, or for purposes which include the purpose, of being entertained.

Operations

Identify hazards associated with activities contributing to the event, where activities are carried out and how activities to be undertaken

Identify those people who may be harmed, and how

Identify existing precautions eg venue design, operational procedures or existing 'safe systems of work'.

Evaluate the risks.

Decide what further actions may also be required, eg improvement in venue design, safe systems of work etc.

Risk Assessment

The purpose of risk assessment is to identify hazards which could cause harm, assess the risks which may arise from those hazards and decide on suitable measures to eliminate, or control, the risks.

Why do events need a risk assessment?

As an event organiser, you have a responsibility to the public to ensure that your event is run in a safe and appropriate manner;

A risk assessment ensures that you have thought through the safety implications of the activity or event and taken all possible steps to reduce risks, where appropriate;

A risk assessment does not guarantee that nothing will go wrong, but acting on its findings will significantly reduce the chance of problems occurring;

If anything does goes wrong, a risk assessment will show that you have done your best to predict and remove any risks. For anyone facing a claim or prosecution relating to health and safety, the difference between having and not having a written risk assessment may be significant.

Hazards identified Think about what could go wrong and write them down. Don't worry about how it sounds.

a 'hazard' is anything which has the potential to cause harm to people;

a 'risk' is the likelihood of the harm from a hazard being realised and the extent of it.

Hazard severity If it happens how bad would it be?

not that bad? ('Low') pretty bad? ('Medium') or very bad? ('High'). Give a rough indication of severity. EG for a marquee it might catch fire, the hazard severity would be: High.

Likelihood of occurrence How likely is it to happen? - if you don't take any actions to reduce the risk beyond the controls which are already in place'

For the marquee example, the likelihood of occurrence would be: Low.

Residual risk rating Using the same scale of measurement again, the residual risk rating is a representation of the average of the hazard severity rating and the likelihood of occurrence rating.

An easy way to think about it is by using the following scores: Low = 1; Medium = 2; High = 3

To work out the average add the scores of the hazard severity rating and the likelihood of occurrence rating and divide by two. Round all results up to always provide you with the worst case scenario.

The residual risk rating allows you to see, at a glance, the combination of the hazard severity and the likelihood of occurrence. Enter information in the Risk Assessment Template

Control measures required What action can you take to remove the risk or reduce it to an acceptable level? Most of the time there will be a simple and common sense solution to the problem.

For any risk there may be a variety of solutions that may be put in place to contain it. You should select the most appropriate solution bearing in mind the residual risk rating and the event specifics, including manpower and financial considerations.

Further information on constructing risk assessments is available free of charge from the Health and Safety Executive

www.hsebooks.co.uk

Risk Failure

Ten people have been charged over the deaths of 21 people in a stampede at Germany's Love Parade music festival. More than 500 people were injured during the 24 July 2010 tragedy. The victims - 13 women and eight men - were aged 18 to 38 and included seven foreigners: from Australia, Italy, the Netherlands, China, Bosnia-Hercegovina and Spain.

police report listed a catalogue of crowd management and planning mistakes.

The grounds opened nearly two hours later than promised, leading to an initial blockage in the tunnel, and there were no loudspeakers to control the crowd, the report said.

The crush happened when hundreds of thousands of people tried to squeeze through a narrow tunnel that served as the only access to the grounds.

Four staff of the music festival organiser Lopavent and six members of the administration in the western city of Duisburg have been charged.

They are accused of negligent manslaughter and causing bodily harm over claims that bad planning and poor crowd management were to blame.

Operations

Ensure that one person is responsible for health and safety

Once written, make sure that all staff and volunteers are briefed on the health and safety plan and risk assessment

Risk assessments are a logical process - ask the question" what if.....?"

Don't make it complicated - just take the time to think through the entire event and ensure that you have all the elements covered

Key Points

Key Points:

Ensure that one person is responsible for health and safety

Once written, make sure that all staff and volunteers are briefed on the health and safety plan and risk assessment

Risk assessments are a logical process - ask the question" what if.....?" Don't make it complicated - just take the time to think through the entire event and ensure that you have all the elements covered.

Evaluation

Feedback Meetings

De-brief Reporting

Planning for the Next Event

It’s not over yet. The final step in the event management process is one of good business practice and good housekeeping and our advice is to start it as soon as possible after the event.

The evaluation and reporting process, mainly involving de-brief meetings, information gathering and report writing, is an important and useful exercise which:

> Allows everybody who was involved in the event to feedback their experiences, advice, and recommendations

> Helps you to realistically assess the event’s success based on factual and anecdotal information

> Provides you with the opportunity to ‘sign off’ the event (physically and emotionally)

Helps you plan the next event

Meetings

You may feel by this stage that you have had enough meetings but it’s important to have your say and let everybody else do likewise. The nature, size and structure of the event will have an influence on how many meetings you have but it is likely you will require to meet with:

> Your organisation’s management team and temporary/part-time staff

> Key external contractors

> Your client (if you have one)

> Steering-group and management sub-groups

Funders and sponsors of the event

De-brief Reporting

Ask your own management team members to prepare succinct and constructive de-brief reports detailing their role in the event, their experiences (and that of the people who were in their team) and recommendations for future events. This will help you when it comes to writing the final report

Like the Business Plan, a de-brief report is a very useful document. It will serve as a single, clear record of the event and its outcomes. You will refer to it time and again when planning future events and so it should include all relevant information such as:

> General reminder of the type of event, programme, dates, location(s), how many people attended, etc

> General statement about the success of the event

> Review of the Business Plan, its objectives and actions – were they achieved?

> Overview of the programme > Reminder of production and health and safety aspects

> Detailed analysis of the effectiveness of marketing and communications > Fundraising analysis measured against your initial revenue plan

> Final budget showing all income and expenditure

The circulation of the report may or may not be as extensive as other documentation

you have prepared for the event. In general, those who have been intrinsic in the event

planning process and those with an interest in the future of the event such as your

client, funders and key management personnel would receive a copy of the report.

Planning for the Next Event

By now it’s likely plans for the next event are already in their early stages. The de-brief

process helps you organise your thoughts on what has just happened and what to do next.

Take time to reflect on everything that has taken place; try to think about the event

planning process and the event itself from an objective viewpoint. Go back and look at

your original Business Plan. Review and update the plan based on the knowledge you

have gained and the actual outcomes.

Lecture structure

What is evaluation?

Why evaluate?

When to do it

Types of evaluation methods and when to use them

Feeding findings back into the process

Conclusion

Definitions of evaluation

‘the subjective determination of worth- to place a value on something.’ (Getz 2005, p378)

‘the process of critically observing, measuring and monitoring the implementation of an event in order to assess its outcomes accurately.’ Bowden et all 2006, p413)

‘the art of asking interesting and provocative questions’ leading to ‘reflection and learning’ Jackson, 2004, 8)

What is evaluation

A tool for:

Demonstrating success and achieving objectives- These may be economic, social or environmental

Gauging audience expectations, wants and needs

Testing the product in the environment

Determining whether aims meet market demand

‘Making judgements against agreed criteria’ (Feek, 1998) set by organisation but can be dependant on other factors – linked to funding

What might be evaluated

can be internal within organisations to gauge effectiveness and determine best use of resources – financial viability

Used as a tool to determine tourism impacts, visitor studies - demand for or satisfaction with the ‘product’.

Why might we fear it?

Hard to determine the success or otherwise of a non-tangible experience.

‘Visitor research can stir real terrors amongst the powers that be: “Will I be forced to change?” “Will I be criticised in the eyes of my peers?” …. Visitor research has come to be associated with judgment - success or failure, praise or blame. Think of it like this: you want to communicate the stories that give your collections meaning. To do so successfully you will need to understand your visitor’s agenda and what kind of ideas connect with them. You will want to respect that agenda.’ (Fisher 2002)

Why evaluate?

To either get a grant or prove money was well spent!

Report to stakeholders (Bowden et all 2006)

Accountability - if publicly funded

To determine programming

Can determine cost

To get a measure of impacts of events – social, economic and environmental impacts to organisation, locally, nationally and globally.

To improve practise

Benefits

‘Evaluation keeps an organization in touch with changes in its environment and its performance with respect to this environment and is thus an essential prerequisite for responsiveness and adaptability.’ Faulkner (1997, cited in Mossberg, 2000, pp. 6-7)

What to evaluate

Artistic content

Audience attendance

Audience satisfaction

Organisational issues surrounding event

Rolfe 1992 considers that audience size and attendance are principal means of evaluating events

However timing of evaluation also determines the outcome- can set the agenda- before, during or after?

What makes events unique

Cannot be inspected in advance

Cannot be stored

Must commit resources prior to the actual event

Are largely intangible

Are of a fixed quantity

Are an amalgam of services and tangible products

Are difficult to package

Heterogonous demand – abrupt changes in demand

Often small scale and reliant on intermediaries

Cannot be standardised

When to evaluate

Front End – pre event- part of the planning cycle

Formative – to inform ongoing process

Process - monitoring how things are developing, internal

Summative –outcomes, post event

Different ‘instruments’ will be required for different types pf evaluation

Mixture of quantitative and qualitative questions

Hard to determine satisfaction when it is non-tangible

Will be planned in at all stages

Determinants

Who actually carries out the evaluation

Bias (Geetz 2005)

Time and credibility (Feek, 1998)

Expense - Sage outsources evaluation as new organisation and thinking long term

Harrogate Festival- ‘learning curve from which to improve’

Aid to advertising - teaches organisation who their visitors are and where they come from

Approach

Interviews and surveys- using mixture of qual. and quant. - see handouts

Focus groups- for qual. research and insights into visit behaviour and attitudes

Observation

Sampling

Service users or non-users?

Making use of findings

Care has to be taken when analysing findings

Can make arguments for introducing a product based on likely visitor evaluation- Saltburn Cinema use

Will have the potential to change the product

Can influence the programme, cost and timings of events

Can help get further funds – Sage evaluation

Can fit government agendas - social inclusion

conclusion

Evaluation is important tool for determining the success of a range of operations, visitor satisfaction and visitor analysis.

Is increasingly being used by organisations as a part of the whole process

Project not finished until it is evaluated then you start all over again.

References:

Allen, K. and Shaw, P. (2001) Festivals Mean Business: The Shape of Arts Festivals n the UK, British Arts Festivals Association, London.

Allen, K. and Shaw, P. (2002) Festivals Mean Business II: The Shape of Arts

Festivals in the UK Update, British Arts Festivals Association, London.

Bowdin, G., Allen, J., O’Toole, W., Harris, R. and McDonnell, I. (2006) Events

Management, second edition, Oxford, Elsevier Butterworth-Heinemann.

Burgan, B., and Mules, T. (2001) Sampling frame issues in identifying event-related

expenditure, Event Management, 6(4), pp. 223-230.

Carlsen, J., Getz, D. and Soutar, G. (2001) Event evaluation research, Event Management, 6(4), pp. 247-257.

Faulkner, B. (1997) A model for the evaluation of national tourism destination marketing programs, Journal of Travel Research, 35(3), pp. 23-32.

Feek, W. (1988) Working Effectively: A Guide To Evaluation Techniques, Bedford Square Press, London

References cont.

Fisher, S. (2002) Objects are not enough, Museums Journal, 31-35, June 2002Getz, D. (2005) Event Management and Event Tourism, second edition, Cognizant Communication Corporation, New York.

Getz, D. (2000) Defining the field of event management, Event Management, 6(1), pp. 1-4.

Goldblatt, J. J. (2004) Special Events, fourth edition, John Wiley & Sons, Hoboken.

Hall, C, M. (1997) Hallmark Tourist Events – Impacts, Management and Planning.,Wiley, London

Hooper-Greenhill, Eilean Museums and their Visitors. (London and New York: Routledge,1994

Jackson, A. (2004) Evaluation Toolkit for the Voluntary and Community Arts in Northern Ireland, Annabel Jackson Associates, Bath

Art fairs, festivals and Exhibitions

Introduction to MGT 6121

Dr Elizabeth Carnegie

Introduction……..

Now, it’s festivals, festivals everywhere. Big ones, small ones, wild ones, silly ones, dutiful ones, pretentious ones, phony ones. Many have lost purpose and direction, not to mention individual profile. Place a potted palm near the box office, double the ticket prices and – whoopee – we have a festival!" (Bernheimer, 2003, Financial Times, W21)

Why Festivals and Events

Social habitus (Bourdieu)

Time out of daily life

Tribalism (gatherings of like minded people - music festival, opera)

Signals a cultured people- city spaces

Art is a currency in society

Art spaces have high social standing.

Punxsutawney Phil

http://www.washingtonpost.com/blogs/capital-weather-gang/wp/2015/02/02/groundhog-day-2015-punxsutawney-phil-sees-shadow-predicts-six-more-weeks-of-winter/

Festivals as Rupture

‘Building on Erwin Goffman… (1974) Festive frames…describe a kind of socially constructed ‘recipe’ for people to deal with the smaller and larger life crises they face in their daily lives, both by giving these meaning and by leading people through an embodied process that eventually allows them to go on with their lives’. (Picard, 2015, 2)

Festivals necessary

Not just different from day to day work life

Also necessary to help us cope with the stresses in our lives as human beings – remind us what it is to be human in the company of other humans mediators of social change?

‘This can include anything from the readjustments required through pivotal points in the life cycle, to the shock of migration, environmental disaster, or revolution’.(Picard 2015, 2)

How?

Festival and Events definitions – next week

Hallmark, mega, major, local, community

What do organisations, places aspire to?

What the social purpose of the event

Economic purpose

Tourism

Unity/community

Showcase cultures- Mela/ carnival

Movement of peoples, ideas, events?

Hallmark Events: Edinburgh festival

Octoberfest

Scottish Pavilion Venice Biennale

Sheffield in Venice

Vencice Biennale – Art in a political context

Frieze Art fair

Basel- ‘the world’s best art fair’ (the Telegraph)

Mega Events: Olympics games

The Sochi 2014 Winter Olympics

2012 opening ceremony London

Beijing

Wizard World Comic Con

Star trek

Cultural events: Tomantina

Local and Diasporic

Mela in Edinburgh

Harvest festival: local event

Trick or treat

Clown pilgrims

Day of the Dead Mexico

So…. This module will cover….

This module explores the growth development, characteristics, issues and influences relevant to international art fairs, festivals, expos and events and their impact on localities

In terms of income generation, providing added value to tourist spaces, and their role in showcasing cultures and cultural products and places.

Module Aims

To enable students to develop a critical understanding of the emergence, scale, scope and structure of CCI related art fairs, festivals and exhibitions.

To critically examine the key management issues, trends and impacts of art fairs, festivals and exhibitions at local, national and international levels.

To critically evaluate art fairs, festivals and exhibitions as tools for audience development, cultural regeneration and cultural tourism.

At end of module you should be able to:

Demonstrate the ability to critically analyse the political, economic, socio-cultural and environmental impacts of art fairs, festivals and exhibitions within a range of different global contexts.

Demonstrate a critical understanding of the management issues and impacts of festivals and events.

Understand the significance of visitor demand and behaviour in influencing the ‘marketplace’

Module organisation

2 hour lecture every week

One hour seminar seminars will be used to study the weeks topic in further depth

You will be allocated research tasks or required reading ahead of each week’s seminar

You will be expected to participate fully in seminars and be able to refer to your reading

Times

Dates: Lecture Thursday 9-11pm, SUMS L01

Seminars: 1. (11-12pm), 2 (1-2pm), 3 (2-3pm), all held in SUMS SR01: (Please note seminars begin in week 2)

Timetable

9/2 Introduction to module: Managing Festivals, Events and Creative Performances

16/2 Why host events? (Open Lecture to include Achieve More students)

23/2 Event typologies: Understanding events

02/3 Visit to Sheffield Theatres (3 hour visit (TBC)

09/3 11 am Visit to Leadmill (London Friday 10th)

Timetable

16/3 Arts fairs and the contemporary art scene

23/3 Tourism and cultural events

30/3 Managing the event process

Easter Vacation 3 weeks

After Easter vacation

27/4 Future agendas for festivals and performance spaces (Poster presentations today)

04/5 Review and Revision

Assessment 2

Submission date for essay is Individual written assessment 25th May 2016, 4pm (SEO)

Topic:

Critically appraise the development, organisation and success of one MEGA or MAJOR recurring event. (Examples of suitable events might

be the Venice Biennale, Edinburgh Festival or major sporting event such as Olympics)

Major events are more global than local in intent? Discuss with reference to tourism development strategies, local engagement initiatives and the role arts events have in shaping cultural identity.

Any questions?

References

David Picard (2015): The Festive Frame: Festivals as Mediators for Social Change, Ethnos: Journal of Anthropology, DOI:

Contact details

Dr. Elizabeth Carnegie Lecturer in Arts and Heritage, Marketing and the Creative and Cultural Industries Sheffield University Management School Conduit Road, Sheffield S10 1FL e.mail: [email protected] tel: 0114-2222182 fax: 0114-2223348

Mega Events and tourism

24/2/2016

Lecture Plan

Special events perspective

Tourism and tourist types

Tourism and mega events

Impacts and issues

Tourism and

Future concerns

World a playground for tourists

Entering other worlds

No other sporting event captures the world's imagination like the FIFA World Cup™.

Today, the FIFA World Cup holds the entire global public under its spell. An accumulated audience of over 37 billion people watched the France 98 tournament, including approximately 1.3 billion for the final alone, while over 2.7 million people flocked to watch the 64 matches in the French stadia.

The Special Event Perspectives

Tangible Products

(The Events Façade)

Events

Visitor

Experience

Community Development

Organizers

Impacts of tourism

TOURISM STRATEGIES FOR URBAN REGENERATION (adapted from Swarbrooke, 2000)

Urban regeneration

Event led strategies

Attraction led strategies

Business Led strategies

Culture strategies

Leisure based strategies

Product Life-cycle challenge

TIME

REVENUE AND PROFITS

Intro

Growth

Maturity

Diag 1:

(Adapted from M.Payne, EICC, April 29, 2002)

Impact Type	Potential Positive	Potential Negative
Economic (often linked with political)	Jobs (for local people) Increased incomes (directly generated by tourism businesses) Spin off benefit for other industries (multiplier effect or indirect effect) Increase in GDP	Fewer job opportunities (displacement effect) Low skill level Financial leakage (importation of goods and labour) One dimensional & unstable economy Uneven development Inflationary effect (especially on land, housing)

Impact Type	Potential Positive	Potential Negative
Cultural (often linked with social)	restoration of national identity or pride Revival of ‘dying’ customs Cultural interchange	Exploitation and devaluation of culture Commodification of culture Demonstration effect Staged authenticity

Impact Type	Potential Positive	Potential Negative
Environmental	Preservation of natural and built environment	Environment destroyed or deteriorating

Impact Type	Potential Positive	Potential Negative
Social	Improvements in facilities for locals	Doxey’s Irridex Model, 1976) Sex tourism Crime Health (HIV AIDS)

Impact Type	Potential Positive	Potential Negative
Political	May improve political understanding between countries	Tourism used to legitimise dictatorial regimes (e.g. during the Marcos era in the Philippines)

Doxey’s Irridex Model (1976) (1)

Sought to measure the extent of irritation created due to the contact between tourists (guests) and locals (hosts). Devised Five stages:

Euphoria – initial phase of tourism development. Tourism is a novelty and locals are excited and welcome visitors. Little planning or control of tourism

Apathy – tourism development seen as a money making venture and tourists taken for granted as a source of income

Doxey’s Irridex Model (1976) (2)

Irritation – tourism reaches saturation. Policy is to increase infrastructure rather to limit growth. Hosts feel overwhelmed

Antagonism – tourism is seen largely as having negative impacts and locals become openly antagonistic. Tourists are exploited

Final level – Increased levels of antagonism will lead tourists to move on to other destinations

Stakeholder Dynamics

In most instances there will be conflicts within and between different stakeholder groupings in terms of their expectations

Important to understand the objectives of each stakeholder/stakeholder grouping

Some stakeholders have several roles – difficult to determine their objectives

Stakeholder groupings will change depending on the project.

Stakeholder Collaboration 1

Why is there a need for collaboration between stakeholder groupings?

Reduces the likelihood of conflict

Ensures that plans are sustainable

Develops a sense of ownership

Develops trust

Improves quality of development (draws upon different perspectives, abilities and expertise)

Stakeholder Collaboration 2

Jamal & Getz (1995) propose 6 important conditions which should be fulfilled in order to ensure successful collaboration between and amongst stakeholder groupings:

Stakeholders must believe in their mutual interdependency

Stakeholders must believe that they will benefit from collaboration

They must believe that any decisions made will be implemented

Stakeholder Collaboration 3

Key stakeholder groupings (e.g. government, residents, special interest groups) must be involved in the collaborative effort

The convener must be legitimate with the necessary expertise, resources and authority

The process of collaboration must work effectively and efficiently

Working with all involved parties in a democratic way can help develop sustainable tourism

Stakeholders are a key influence in the development of tourism projects

The level of stakeholder influence is dependent on the level of interest and power that each stakeholder has.

A power/interest matrix can be used to map stakeholders in order to determine levels of interest and power

Stakeholders might also be mapped in terms of their potential to threaten and their potential to cooperate with a particular tourism project

There are differences within and between stakeholders/groupings which can lead to conflict

Collaboration between stakeholders is vital to the successful development of tourism projects.

Revitalises communities

Mega Events

‘..are large scale cultural or sporting events designed to attract tourist and media attention’ (Roche, M)

Hallmark events

‘…a recurring event that possesses such significance…that the event provides the host venue, community, or destination with a competitive advantage’(Goldplatt, J)

Need to understand motivations, expectations & needs

Marketing mix for events and festivals

‘marketing events is the process of employing the marketing mix to attain organizational goals though creating value for clients and customers. The organization must adopt a marketing orientation that stresses the building of mutually beneficial relationships and the importance of competitive advantages.’ (Getz, 1997)

Cultural pursuits- career ladder

For such tourists cultural pursuits are a form of identity creation- career ladder (Prentice 2003)

Many of those attending (arts festivals)are involved in some form of cultural profession and leisure extension of that. (Stebbins (1994)

The New Tourist (1)

It has been argued that consumers are changing in tastes and preferences and that this requires a new approach to tourism product development

The chief proponent of the concept of the ‘new’ tourist is Poon (1993)

According to Poon, the ‘new’ tourist has certain characteristics including…

The New Tourist (2)

Risk taking

Multiple holidays per year

Sun plus

Interaction with local cultures

Independent traveller

More environmentally aware

More knowledgeable about destinations

The New Tourism

This has arguably led to the emergence of a plethora of specialist or ‘niche’ tour operators who have designed their products to suit the new consumer

Festivals and events part of the new tourism

The aims of the Cultural Olympiad

encourage and welcome involvement from communities across the UK, including London;

leave a lasting legacy that improves cultural life;

showcase excellence in the performing arts and creative industries as well as sport;

introduce young people to the UK’s many artistic communities and those from around the world;

Aims of Cultural Olympiad cont.

promote London as a major cultural capital;

heighten economic regeneration and encourage tourism in the UK through the work of the creative industries;

incorporate the Olympic values of ‘excellence, respect and friendship’ and the Paralympic vision to ‘empower, achieve, inspire’.

Brazil 2016

Kumbh Mela 2013

http://www.youtube.com/watch?v=cQNoimABjMQ

Environmental role special events play in generating pride etc.

POSITIVES

Showcase environment.

Raise awareness of environment

Improve infrastructure

Improve transport and communications.

Adapted from Hall 1989

NEGATIVES

Environmental damage

Pollution

Destruction of heritage

Noise disturbance

Traffic congestion

Reputation Management

The history of the modern Olympics “shows numerous instances where inadequate planning, poor stadium design, the withdrawal of sponsors, political boycotts, heavycost overruns on facilities, the forced eviction of residents living in areas wanted for Olympic facilities, and subsequent unwanted stadia leave a legacy that tarnishes rather than enhances the

reputation of the host city” (Gold and Gold 2008, 301).

Furthermore, bribery and inequity in thebidding process, poor fiscal forecasting, deficiencies in infrastructure development, over

optimistic predictions and games boycotts have damaged the reputation of all stakeholders’ party

to the Olympic ‘dream’. (Kanderee, 2014- see MOLE)

Impacts of mega events

Psychological impacts

How residents and businesses feel about their locations before, during and after the event

Prestige and hospitality

Political/administrative impacts

Political aims of mega-events

Strenghtening of ideologies

Promotion of individual interests

Processes and structures

Businesses

Cities

Regions

Nations

Tourism impacts

Visitor expenditure

Publicity, leading to heightened awareness and more positive image

Image is affected not only by the event period but since the bidding process

Tourist volumes

Infrastructural developments

Organisational developments

National

Political stability

EU membership and need for affirmation

Funds from EU development programs available

Need for an economic boost

Move from industrial to service economy

Enhance ‘proud’ and confidence levels

Local

Poor infrastructure

Major areas with declined industrial structure

Concentration of the service sector in the city centre

Inbalance between east and west

Erosion of the relationship between the city and the river

Decrease in quality of life

Desertification of many old neighbourwoods

Young middle class leaving the city

Lisbon lost 1/3 of its population since 1970 due to sub-urbanisation

Negative affects on communities

Can alienate community

Manipulation of community

Can create negative or false community image

Bad behaviour

Substance abuse

Loss of or restricted access to amenities for host community (adapted from Hall 1989)

Festivals as Cultural Performance

Festivals are cultural performances…

entrepreneurs often take local festivals

They become more profitable

Restrict tourist access to off limits

Major growth since the 1950’s and boom of mass tourism (Kirshenblatt-Gimblett 1998)

Exoticised ‘other’

‘all but extinct cultures are exoticised and felt to contain people with ‘ancient’ or ‘original’ sacred knowledge that can be taught transferred and experienced.’ (Schechner (1993)

Performing cultures

Tourism gives tribalism and colonialism a second life by bringing them back as representations of themselves and circulating them within an economy of performance. Bruner and (Kirshenblatt-Gimblett 1994)

Cultural festivals and the touristic experience

Defined as ‘transient consumption of aesthetic difference in the search for the sincere and authentic’ (McCannell, Urry)

Authentic if you think it is as you create in your mind? (Chhabra et all 2003)

Visitor Experience Products

Spectacle

Belonging/ sharing

Authenticity

Community

Culturally genuine goods and entertainment

Realistically recreate historical/ cultural event

Do not exploit visitors

Ritual

Games

Targeted Benefits

Lecture : Marketing and Promoting Events

Indicative Reading

Bowdin, G et al (2001) Events Management Butterworth-Heinemann: chp 6

Goldplatt, JJ (1990) Special Events Van Nostrand Reinhold

Hall, CM (1992) Hallmark Tourism Events: impacts, management & planning Belhaven Press: Chp 8

Murray, M (1995) When will the balloon burst? Hospitality Feb/March 1995

Roche, M (1992) Mega-Events and micro-modernization: on the sociology of the new urban tourism British Journal of Sociology, Vol 43 (4) December 1992: p563-599

Watt, DC (1998) Event Tourism in Leisuure and Tourism Addison Lesley Longmann: Chp 5

TOURISM IMPACTS

POLITICAL

SOCIAL

ECONOMIC

ENVIRONMENTAL

CULTURAL

Arts fairs/historic re-enactment

Art Fairs

Why Festivals and Events(recap)

Social habitus (Bourdieu)

Time out of daily life

Tribalism (gatherings of like minded people - music festival, opera)

Signals a cultured people- city spaces

Art is a currency in society

Art spaces have high social standing.

Why art fairs?

Develop and showcase cultural offerings

To be seen to be player on the global ‘art’ stage

Valuable market in cultural and financial terms

Cultural one-upmanship – some art fairs very exclusive

To support emerging markets – Bucharest biennale for example

To show support for countries in the political sense

Art and politics co-inside in the way that civil rights are evident within cultural spaces in terms of how they determine cultures and cultural value

Evidenced by emerging markets entering art fair world

India Art Fair is South Asia’s leading platform for modern and contemporary art and portal to the region’s cultural landscape. Founded in 2008, India Art Fair has become the bedrock of a now booming cultural community with connections to every level of the market.

Based on Venice model

India's first art biennale, its largest ever gathering of contemporary artists, has opened in the southern city of Kochi. The exhibition, modelled on similar ones across the world, particularly in Venice, features more than 80 artists.

Not selling - showcase

Old warehouses used in the days of the spice trade more than two centuries ago, works of art in themselves with their high ceilings and wooden beam structures, have been transformed into venues.

Seen as too outward looking?

Anti-biennale groups have put up posters in the town and, according to reports, even burned brochures to protest against what they say is a corporate-driven occasion which does not promote enough local artists.

"From a curatorial point of view, when you choose 80 artists from all over the world, it is tough," says Mr Komu, adding that 23 of the 82 artists showing are from Kerala.

"It's not like it's an excluding exercise, perhaps some of the artists who weren't shown should have organised a fringe biennale."

Art fairs

‘artists endlessly crossing continents to exhibit at art biennales, attempting to please the same group of jet setting-carbon-footprint-heavy international curators or NEW York based dealers now operating out of Beijing or Shanghai?’

(Harris, J (2011:3) Globalisation and Contemporary Art)

Art markets

Arts markets tend to form round the centre (established galleries, exhibition Biennales)

‘centre is where demand is concentrated, reputations are built, and the density of social networks is highest – enhances visibility, reputation and therefore price level.’( Velthuis 2005:107)

Beijing International Art Biennale

Cultural significances of the Biennial:

Building a grand path and bridge for international cultural exchanges;

Opening the showcase for presentation of native contemporary arts;

Incubating new concepts of arts and shortening the regeneration cycle of arts for activating innovation;

Rationally identifying excellent arts around the world and promoting exquisite arts;

Closely combining arts with international trends and national interests, developing the resource advantages in serving the society and human beings.

Beijing International Art Biennale

Social Functions of the Bienniale:

Protecting the rich and diversified cultures of the world and promoting the normalized supplementation of advanced concepts and works through multidirectional international transmission;

Creating an obstacle-free path for the convergence of pioneering thoughts of different nations and countries via the exchanges of visual arts that are less restricted by language barriers;

Maintaining and promoting the peace of human being through worldwide feeling gathering;

Making use of the geological convenience of the hosting country, highlighting the local culture and national art, winning the initiative rights of voices in the cultural circles of the world, thus developing the cultural vision of local residents;

Expanding the celebrity of the hosting city, enhancing its cultural content, promoting the economic development by accelerating the local tourism;

Performing the basic duties, which should be undertaken by big cultural powers to the international society.

Bucharest Biennale

‘the shifting nature of economics, politics and culture, are artistic practices whose agency lies in investigative or indirect approaches that possess their own kind of power.’ Bucharest Biennale

http://www.youtube.com/watch?v=L-X8hKYgASc

'The field of art has become-in short-a field of possibilities, of exchange and comparative analysis. It has become a field for alternatives, proposals and models, and can, crucially, act as a cross field, an intermediary between different fields, modes of perception, and thinking, as well as between very different positions and subjectivities’

Simon Sheikh, 'SPACES FOR THINKING: Perspectives on the Art Academy,‘ Texte Zur Kunst 62

New York Biennale: fighting systems

‘New York is considered the international capital of contemporary art. New York still doesn't have an event that marks its supremacy in the field of contemporary art.

The NYBA is committed to fill this gap and call back to New York every two years the best of the international artistic production, the avantgards, and all those who tries to overpass the boundaries of and between the arts, in particular the new artist generations.

The dominant system only looks at turnover.

Money, money, money.’

http://www.nybiennaleart.org/2012-2013/

Mission cont…

They think just the present day

Tomorrow is not interested

In their hands the artistic product has become a financial product.

After preparing real estate bubble and financial bubble are also preparing one of contemporary art.

I can not wait to see it!

I will arrange a big party and we'll begin a new era,

Not Damien Hirst and his fucking dog fish, not Jeff Kons and his fucking sweet hearts.

Next Biennale will continue to beat the path of research, quality, innovation

We have to change.

We can change.

frieze art fair

Frieze Foundation is a non-profit organisation established in 2003 and is responsible for the curated programme at Frieze London, comprising artist commissions, talks, films, music and education.

Art establishment showcase

Frieze 2016

https:// frieze.com/media/frieze-projects-2016

Discover the world’s most exciting artists, from the emerging to the iconic

https://frieze.com/fairs/frieze-london/programme

Frieze London features more than 160 of the world’s leading galleries. View and buy art from over 1,000 of today’s leading artists, and experience the fair’s critically acclaimed Frieze Projects and Talks programmes

Frieze New York

featuring over 190 of the world's leading contemporary galleries.

Outsider art

‘Work that has been produced by unknown artists operating outside the established market and institutions with little or no formal training is being lauded by collector's dealers and curators here, as art that has a refreshing honesty and directness.

It is, I suspect, a reaction against the increasing commodification of art, the result of a blooming market fuelled by the new ultra wealthy, profiting from economies new emerging from around the world. Will Gompertz Arts editor

http://www.bbc.co.uk/news/entertainment-arts-22719103

Liverpool Biennial The UK Biennial of Contemporary Art

Every two years the city of Liverpool is host to an extraordinary range of artworks, projects and a dynamic programme of events. It is the largest international contemporary art festival in the UK.

Liverpool Biennial unfolds through a programme of exhibitions and projects that lead to a rediscovery of the city. Newly commissioned and existing artworks and projects are presented in diverse locations, including unusual and unexpected public spaces as well as the city’s galleries, museums and cultural venues

Carlos Amorales Why Wolves

Commissioning new art

Since its launch in 1999, Liverpool Biennial has commissioned over 200 new artworks (Liverpool was City of Culture in 2008) Liverpool Biennial attracts over 600,000 visitors over 10 weeks In 2010 visitors to the Biennial spent £27millon

Uses the city

Liverpool Life

Liverpool has five of the most deprived areas in the country as report claims England is one of most unequal countries in Western world

Liverpool is the most deprived area

Liverpool: the best dressed city in Britain

"liverpool? Fashionable? Don't they all wear shell suits, brandish guns and have Barry Grant haircuts? Isn't it the poorest city in Britain?" People laughed when I told them I was going to Liverpool to write about the most fashionable city in Britain. (Independent 1995)

The city is now a credible fashion hotspot "Liverpool people naturally wear more fashion than the inhabitants of any other city. The girls there are wonderful, they all wear high heels.“ (Telegraph, 2008)

Sharing issues common to a poor city

Jose Angel Vincench's work takes the form of five mobile home trailers spelling the word Exile to represent the transient existence of people who have left their homes for political reasons.

Rosa Barba: Sounds of the City

Free Post Mersey Tunnels, 2010 Pipes, sound, ventilator Courtesy Carlier | Gebauer, Berlin and Galleria Giò Marconi, Milan New commission for Liverpool Biennial 2010, Touched Photo Credit: Thierry Bal

Merging of art forms

Cultural festivals as Serious leisure

Serious consumption (Stebbins) of high cultural forms i.e. Edinburgh Festival

93% being ABC1 (The Audience Business), c58% in 2004 came from outside of Edinburgh and Lothians

Cultural pursuits- career ladder

For such tourists cultural pursuits are a form of identity creation- career ladder (Prentice 2003)

Many of those attending are involved in some form of cultural profession and leisure extension of that. (Stebbins (1994)

Part 2: Time travelling? Living history and re-enactment events

From living history to symbolic pageantry?

Living History- staging the past

Authenticity and ‘reputation management’ (Magellsen 2007)

Re-enactment societies

Lifestyle groups

War and staging battles

Interpretation at historic spaces

Festivals and one off or recurring events

Peaceful activities – food and cooking

Events that blend 2000 years of history in pageantry

‘The power of performance for articulating lived experiences of communities whose voices were often overpowered or suppressed by ‘official’ commentators’

‘Emotionally comfortable’ for visitors (Tyson, 2006)

‘living history interpretations are illusions...they allow us to explore our relationship with the past through human contact’. Goodacre and Baldwin (2002)

Virginia Civil War Re-enactment

Storming the battlements- playing with place

Playing with senses

Lifestyle choices: Family fun

Peaceful activities

Living the dream(s)

Howarth, West Yorkshire, May, 2013

Evacuated Children

Land Girls: playing with tropes?

The right side?

The NIMBY’s

The wrong visitors?

‘Dambusters celebration 'hijacked by Nazis': Outrage as visitors to WWII remembrance event defy ban on SS uniforms’ Daily Mail 19/5/2013

Problems of partisanship in Re-enactment events

‘To deny the re-enactment of these units is much like denying that the Holocaust happened. People need to see this, they need to see that such horror can be dressed in a smart uniform and strut around. These people are just as important as the Battle of Britain Flights or the Cenotaph... They serve a purpose they continue to remind us that not all Germans were SS but all SS were Nazi...’Blog post (May 2013)

Playing with time and place?

I’m usually a Viking...

Ye Olde Merchandise

A necessary embellishment?

I was a by-stander in a re-enactment of the Warsaw uprising, accompanied by a 73-year-old friend who was a boy scout at the time keeping watch on German troop movements. What struck me was the way in which the event was being presented for 21st century audiences in ways which not only sanitised the event, but which dramatised it unrealistically. I don’t imagine, for example, that the Polish resisters actually stood on the top of the barricade declaiming, though this is what we saw. (Bornat,personal statement, 28 August 2004)

Playing with gender roles?

Liberation Day, Jersey 2007

Manor Lodge: ruin bought to life

Edutainment versus lifestyle choice

The Battle of Orgreave: Miner’s strike

King Richard's head to go on tour

So….

Re-enactment events offer interactivity

Add value to visits – played out in historic space

Can be partisan, racist, ‘inaccurate’/educational?

Offers family engagement

Managing Festivals, Events and Creative Performances and Managing Museums and Cultural Heritage Sites

Revise and review

4/5/2017

MGT 6121

Introduction……..

Festivals necessary

Not just different from day to day work life

Also necessary to help us cope with the stresses in our lives as human beings – remind us what it is to be human in the company of other humans mediators of social change?

‘This can include anything from the readjustments required through pivotal points in the life cycle, to the shock of migration, environmental disaster, or revolution’.(Picard 2015, 2)

How?

Festivals as Rupture

Beltane, Edinburgh

When festivals go bad!

Fyre Festival

The organisers of a luxury music festival in the Bahamas have apologised after the event descended into chaos, drawing comparisons to The Hunger Games and The Lord of The Flies.

Fyre Festival, on the private Great Exumas island, had been billed as a “cultural moment” for monied millennials, with tickets costing up to $12,780 for a four-person package. It was heavily promoted on Instagram as an opportunity to mingle with models and “influencers”, including Kendall Jenner, Bella Hadid and Emily Ratajkowski.

Fyre festival

http://nymag.com/thecut/2017/04/fyre-festival-exumas-bahamas-disaster.html?mid=twitter_nymag

Ja Rule 'heartbroken' after Fyre Festival descends into disaster Fyre Festival, billed as an ultra-luxury destination music experience, was cancelled before it even started.

https://www.theguardian.com/world/2017/apr/29/ja-rule-heartbroken-after-fyre-festival-descends-into-disaster

Ja Rule says sorry

The festival has since been postponed and Ja Rule posted an apology on Twitter that reads, “I truly apologize as this is NOT MY FAULT.”

So…. This module aims to provide you with the ability to:

To develop a critical understanding of the emergence, scale, scope and structure of Creative and Cultural Industries related art fairs, festivals and exhibitions and artistic performances

To critically examine the key management issues, trends and impacts of digital developments on art fairs, festivals exhibitions and artistic performances at local, national and international levels.

To critically evaluate art fairs, festivals exhibitions and artistic performances as tools for audience development, cultural regeneration and cultural tourism.

Why Festivals and Events

Social habitus (Bourdieu)

Time out of daily life

Tribalism (gatherings of like minded people - music festival, opera)

Signals a cultured people- city spaces

Art is a currency in society

Art spaces have high social standing.

At end of module you should be able to:

Critically analyse the political, economic, socio-cultural and environmental impacts of art fairs, festivals exhibitions and artistic performances within a range of different global contexts.

Demonstrate a critical understanding of the management issues and impacts of festivals and cultural events.

Understand the significance of visitor demand and behaviour in influencing the `marketplace’.

Festival and Events definitions

Hallmark, mega, major, local, community

What do organisations, places aspire to?

What the social purpose of the event

Economic purpose

Tourism

Unity/community

Showcase cultures- Mela/ carnival

Movement of peoples, ideas, events?

Theory into practice

We visited local and national spaces – backstage/frontstage

Tramlines

Hull – Freedom Festival, Kardomah

Exhibition venues – Millennium Galleries

National Theatre – London

BFI

Looked at how festivals, events and creative performances are linked to tourism, localities, international strategies, we were concerned with audiences and development strategies

Assessment

A 3000 word individual summative assessment which will cover learning outcomes 1-3

Essay topic

Critically appraise the development, organisation and success of one MEGA or MAJOR recurring event. (Examples of suitable events might

be the Venice Biennale, Edinburgh Festival or major sporting event such as Olympics)

Structure reminder

C250 words introduction

C1500 words of literature

C1000 words of case study

C250 words conclusion

What can you do question

You chose a festival

Look for literature which will help you define it

What kind of event is it?

What can be said about it drawing on literature – is has grown? It has developed its programme? It has developed new audiences

New ways of working in localities

What are the impacts issues of the specific event against those argued in literature?

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