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 © Culver-Dodds Cultural Consultancy 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? SMA ...

1. 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
© Culver-Dodds Cultural Consultancy
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

2. 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

3. 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

4. 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.
2
Choosing a Venue
Use rating criteria to compare venues before you make the final
decision
Accessibility
Audience Capacity
Parking

5. Security
In-house production facilities
Catering/Bars
Availability
Hire Cost
© Culver-Dodds Cultural Consultancy
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
3

6. 4
Planning
ElementProcessorRedRedYellowYellowGreenGreenCommentsE
arliest dateLatest DateEarliest DateLatest DateEarliest
DateLatest DateConcept /Event DesignForm CommitteeProduce
Planning ScheduleResearch And Set DateOpen Bank
AccountFirm Concept/ThemeFind Venue Location-
BookEstablish FundsEstablish Permissions neededCheck legal
obligationsOrganisational TeamLiaise Attractions/other
eventsEstablish who does whatGet Date into Events ListsStart
Permissions ProcessDraft BudgetInsurance-
organise/quotesDevelop Marketing PlanStart Booking
Artists/othersSponsorship
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.
5

7. Planning
ElementProcessorRedRedYellowYellowGreenGreenCommentsE
arliest dateLatest DateEarliest DateLatest DateEarliest
DateLatest DateDevelop PR/Media PlanWeb SiteChase
PermissionsApply for FundingApply for SignageFinalise
BudgetFinalise Marketing/PR planFinalise Sponsor
FundingDevelop Operations PlanContingency-Risk
assessmentHealth /Safety/SecurityTransport controlEmergency
planEmergency ServicesConfirmation Bookings-
artistsMarketing/Full PRWeatherOperational
PlanVenueServices/FacilitiesEntertainment/MediaStaff/Training
Dealing with VisitorsCatering/MerchandisingAdministration
6
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.
7
Gov
Charitable Trust or Company
Committee/Board of Directors/ Trustees

8. 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

9. 8
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
9
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

10. Key Festival Organiser Roles
10
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
11
Typical Festival Organisation 1

11. 12
Festival Committee
Festival Director/General Director
Finance Director
Festival Producer
Technical Director
Marketing Director
Sponsorship Director

12. Typical Festival Organisation 2
13
Festival Committee
Festival Producer/Executive Director
Artistic Director/Guest Director
Finance Director
Technical Producer
Marketing Director
Sponsorship Director

13. Finance
© Culver-Dodds Cultural Consultancy
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.

14. 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
14
Festival expenditure is mostly
on Programmes
Running costs/overheads
12%
Production, performance
and exhibition costs
55%
Marketing
8%
Other expenditure
3%
Staff costs (core,
freelance and seasonal)
22%

15. 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
15

16. 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

17. 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,

18. 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.
16
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
17
Marketing & PR
The Event
Its Unique Selling Points
Your Competition
Target audience
The key message
Ways of reaching people
Time schedule

19. The marketing budget
Planning a marketing campaign
© Culver-Dodds Cultural Consultancy
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

20. - 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

21. 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.
18
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
© Culver-Dodds Cultural Consultancy
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

22. 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
19
Marketing & PR
Direct mail
Internet & Social Media
PR
Advertising
Information outlets
Communications Plan
© Culver-Dodds Cultural Consultancy
Marketing Communications Activity Plan
Produce activity plans to illustrate how you are going to attract
business from your target markets. Consider:

23. 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
20
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?
© Culver-Dodds Cultural Consultancy
The provision of regulated entertainment
- Plays
- Films
- Indoor Sporting events
- Boxing or wrestling entertainment
- Live Music
- Recorded music
- Performances of dance

24. - 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.
21
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
© Culver-Dodds Cultural Consultancy

25. 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

26. 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
22
Risk Failure

27. 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.
23
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

28. Key Points
© Culver-Dodds Cultural Consultancy
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.
24
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)

29. 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

30. > 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.
25
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)

31. ‘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
Or
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

32. 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

33. 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

34. 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

35. 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

36. 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)

37. 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?

38. 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

39. 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

40. 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.

41. 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

42. 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

43. 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)
Or
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

44. 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

45. 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

46. 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

47. Product Life-cycle challenge
TIME
95
96
97
98
99
REVENUE AND PROFITS
Intro
Growth
Maturity
00
01
02
03
Diag 1:
(Adapted from M.Payne, EICC, April 29, 2002)
Impact TypePotential PositivePotential NegativeEconomic
(often linked with political) Jobs (for local people)
Increased incomes (directly generated by tourism businesses)
Spin off benefit for other industries (multiplier effect or

48. indirect effect)
Increase in GDPFewer 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 TypePotential PositivePotential NegativeCultural
(often linked with social) restoration of national identity or
pride
Revival of ‘dying’ customs
Cultural interchangeExploitation and devaluation of culture
Commodification of culture
Demonstration effect
Staged authenticity
Impact TypePotential PositivePotential NegativeEnvironmental
Preservation of natural and built environmentEnvironment
destroyed or deteriorating
Impact TypePotential PositivePotential NegativeSocial
Improvements in facilities for locals
Doxey’s Irridex Model, 1976)
Sex tourism
Crime
Health (HIV AIDS)
Impact TypePotential PositivePotential NegativePolitical May
improve political understanding between countriesTourism used
to legitimise dictatorial regimes (e.g. during the Marcos era in
the Philippines)

49. 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.

50. 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,

51. 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

52. 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)
29
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…
30
The New Tourist (2)
Risk taking
Multiple holidays per year

53. 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
31
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;

54. incorporate the Olympic values of ‘excellence, respect and
friendship’ and the Paralympic vision to ‘empower, achieve,
inspire’.
LITERATUREPOPULAR ARTMUSICPERFORMING
ARTSVISUAL ARTS
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

55. 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

56. 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

57. 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

58. 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

59. 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

60. 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

61. 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)

62. 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

63. 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

64. 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.

65. 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.

66. Outsider art
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 GompertzArts 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

67. 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)

68. 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

69. 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

70. 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

71. 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

72. 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

73. 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

74. 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……..

75. 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)
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
‘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)
Beltane, Edinburgh

76. 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

77. 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

78. 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

79. 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

80. New ways of working in localities
What are the impacts issues of the specific event against those
argued in literature?