International Case Studies in Event Management (Routledge International Case Studies in Tourism) 1032487089, 9781032487083

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INTERNATIONAL CASE STUDIES IN EVENT MANAGEMENT

This international case study book provides 27 expertly curated case studies on the topic of events management, each with detailed implementation instructions for the instructor in order to maximise student participation and learning. Embellished with questions, diagrams and data throughout, these case studies have been developed by industry experts and practitioners with the aim of creating a more interactive teaching experience focused on ‘real world’ scenarios within the events industry. Each case study is logically structured and includes an aim and objectives, expected learning outcomes, required background knowledge, steps of implementation in class or online, as well as suggestions for further reading resources. Topics covered range from macro impacts of events on destinations to success criteria in event operations, with the aim of preparing future professionals and equipping them with the necessary skills and competencies to succeed within the events industry. Easy to use and international in scope, this volume is an ideal study resource for use in higher and vocational education, and its unique, teaching-​led approach positions it as a vital study tool for instructors and students alike. Judith Mair is an associate professor at the UQ Business School, University of Queensland, Australia. Judith’s work aims to understand and enhance the positive impacts of tourism and events on the communities and societies which host them. She is working on a number of projects in fields including mega-​event legacies, the future of events, the links between events and social connectivity and the potential impacts of climate change on the events sector.

Gürhan Aktaş is a professor at the Department of Tourism Management, Faculty of Business, Dokuz Eylul University, Türkiye. He holds a PhD in Tourism Marketing from Bournemouth University, UK. He delivers both undergraduate and postgraduate courses in the fields of destination management, event management and tourism marketing. He has authored academic publications on marketing tourist destinations, visitor attractions and events, and is a co-​editor of the International Case Studies in Tourism Series by Routledge. Metin Kozak holds a PhD in Tourism from Sheffield Hallam University, UK. He has contributed a wide range of articles, conference papers and over 30 books. He has been involved in several national and international research projects, particularly with his partners based in Europe, Asia and the US. He received the EFQM PhD Thesis Award and a number of conference paper awards. His research interests entail marketing and consumer behaviour in an interdisciplinary context. He is currently affiliated with the Faculty of Communication at Kadir Has University, Istanbul, Türkiye.

Routledge International Case Studies in Tourism Edited by Gürhan Aktaş , Dokuz Eylul University, Türkiye and Metin Kozak, Kadir Has University, Türkiye

International Case Studies in Tourism Marketing Edited by Gürhan Aktaş and Metin Kozak International Case Studies in Event Management Edited by Judith Mair, Gürhan Aktaş and Metin Kozak

For more information about this series, please visit: www.routle​dge.com/​Routle​dge-​Intern​atio​nal-​Case-​ Stud​ies-​in-​Tour​ism/​book-​ser​ies/​ICS

INTERNATIONAL CASE STUDIES IN EVENT MANAGEMENT

Edited by Judith Mair, Gürhan Aktaş and Metin Kozak

Designed cover image: © Getty Images /​Benjamin Toth First published 2024 by Routledge 4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 605 Third Avenue, New York, NY 10158 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2024 selection and editorial matter, Judith Mair, Gürhan Aktaş and Metin Kozak; individual chapters, the contributors The right of Judith Mair, Gürhan Aktaş and Metin Kozak to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-​in-​Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-​in-​Publication Data Names: Mair, Judith, editor. | Aktaş, Gürhan, editor. | Kozak, Metin, 1968– editor. Title: International case studies in event management / edited by Judith Mair, Gürhan Aktaş and Metin Kozak. Description: Abingdon, Oxon ; New York, NY : Routledge, 2024. | Series: International case studies in tourism | Includes bibliographical references and index. | Summary: “This international case study book provides 27 expertly curated case studies on the topic of events management, each with detailed implementation instructions for the instructor in order to maximise student participation and learning. Easy to use and international in scope, this volume is an ideal study resource for use in higher and vocational education, and its unique, teaching-led approach positions it as a vital study tool for instructors and students alike”– Provided by publisher. Identifiers: LCCN 2023041105 (print) | LCCN 2023041106 (ebook) | ISBN 9781032487083 (hardback) | ISBN 9781032487106 (paperback) | ISBN 9781003390381 (ebook) Subjects: LCSH: Special events–Management–Case studies. Classification: LCC GT3405 .I568 2024 (print) | LCC GT3405 (ebook) | DDC 394.2–dc23/eng/20231030 LC record available at https://lccn.loc.gov/2023041105 LC ebook record available at https://lccn.loc.gov/2023041106 ISBN: 978-​1-​032-​48708-​3 (hbk) ISBN: 978-​1-​032-​48710-​6 (pbk) ISBN: 978-​1-​003-​39038-​1 (ebk) DOI: 10.4324/​9781003390381 Typeset in Times New Roman by Newgen Publishing UK

CONTENTS

List of figures List of tables About the contributors Introduction to the series Preface

x xi xii xxi xxiii

Case 1 Event concepts for place activation Insun Sunny Son

1

Case 2 Place planning with placemaking principles Nicholas Wise

8

Case 3 Outdoor music festivals and environmental sustainability: Initiatives and practice Ruth Craggs

16

Case 4 Klein Karoo National Arts Festival: A cultural affair Lizette Olivier

22

Case 5 Stakeholders in contention: LGBTQ+​Mardi Gras Clifford Lewis

36

viii Contents

Case 6 We don’t want it like that: Gaining community support for event hosting Lakshi Senevirathna and Made Handijaya Dewantara

44

Case 7 A vegan festival in a non-​vegan destination Ebru Günlü Küçükaltan

53

Case 8 Pros and cons of diaspora festivals Ubaldino Sequeira Couto

59

Case 9 Events, place activation and sustainability Ruth Taylor and Kirsten Holmes

64

Case 10 Putting the 5Ws into context: Organising course live events Ubaldino Sequeira Couto

74

Case 11 A diagnostic framework for entrepreneurial change and innovation in events Richard Shipway, Simon Mosey and Chris Symons

79

Case 12 Preventing a festival fiasco: Preparing for the unexpected Christine M. Van Winkle and Kiri Shafto

90

Case 13 Redesigning a fair using the six thinking hats method Eylin Aktaş

98

Case 14 Improving the festival experiences of solo attendees Bernadette Quinn and Maarit Kinnunen

107

Case 15 How to make live music events safer for everyone? Maarit Kinnunen and Antti Honkanen

116

Case 16 The future of events: How artificial intelligence can play a role Judith Mair and Jason Brown

126

Case 17 The best of both worlds: Hybrid festivals and inclusivity Enya Moore and Bernadette Quinn

133

Case 18 Bidding for the World Tennis Championship Demet Ceylan

139

Contents  ix

Case 19 Bidding for events through responding to requests for proposals Richard J. Buning Case 20 Stand layout in a restricted festival space Gürhan Aktaş, N. Nida Özgen and Işıl Özgen Case 21 Sponsorship or selling out? The ethics of event sponsorships Judith Mair

149 154

167

Case 22  We made it! The value of volunteering for festivals Mervi Luonila and Sari Karttunen

174

Case 23 The show must go on, but how? Manuela Guerreiro and Neil Ormerod

181

Case 24 Cost-​benefit analysis of cultural events Made Handijaya Dewantara and Lakshi Senevirathna

191

Case 25 Staying sane, safe and well in the events industry Raphaela Stadler, Trudie Walters and Allan Jepson

200

Case 26 Do you think ICT-​enhanced performances are really ‘live’ music? Adrian Bossey Case 27 Engaging dog owners through wildlife aversion training: DogFest Aaron Tkaczynski, Sharyn Rundle-​Thiele and Megan Foster Index

209

216

228

FIGURES

1.1 Performance drawing the market visitors into the business areas 1.2 Colourful signs on streets attracting the market visitors down various streets 2.1 Adding placemarks around the city of Rijeka where different placemaking principles are observed as guided by developments noted in the Rijeka 2020 bid document 12.1 A site plan and map of the Enchanted Forest Music Festival 15.1 Experiencing inappropriate behaviour in other than classical music festivals in the last five years, by gender (mean age of respondents: 33.7 years) 20.1 A sketch map of the festival site 22.1 Pori Jazz: Making volunteers visible 23.1 Overview of the Terras sem Sombra Festival dimensions 24.1 Steps in cost-​benefit analysis 25.1 Sustainable HRM in the events industry

5 6 14 94 120 160 179 185 194 207

TABLES

2.1 Placemaking categorisations and principles interpreted from an evaluation of the Rijeka 2020 European Capital of Culture Bid Document 8.1 Impacts of diaspora festivals: A form to be completed 9.1 Suggested timing for the WIL Project 11.1 Diagnostic framework for entrepreneurial change and innovation in events organisations 12.1 Festival programme 13.1 Six thinking hats 19.1 Request for proposal: Children’s Brain Cancer Conference 2023 23.1 Festival aims at a glance 23.2 Festival programme at a glance 24.1 Example of expected benefit and potential cost in a cultural art event 24.2 Example of expected benefit and potential cost in a cultural art event with value 25.1 Case plan 26.1 A sample survey 27.1 Motivation segments

13 60 67 88 96 100 153 187 188 195 196 202 213 225

ABOUT THE CONTRIBUTORS

Eylin Aktaş received her PhD from the Department of Public Relations and

Publicity, Ege University, in 2010 with her thesis titled ‘The Effect of International Events on Destination Branding’. Eylin became an associate professor in the field of Public Relations in 2018. She is currently working at the Department of Public Relations and Publicity, Faculty of Communication, Pamukkale University, Denizli, Türkiye. Corporate communications, public relations, brand communication, event management, destination and city branding and tourism communication are among her fields of study. Adrian Bossey is Head of Subject for Business and Experience Design at Falmouth

University. As a former artist manager whose clients included Carter the Unstoppable Sex Machine and Chumbawumba, he worked on 15 UK top 40 albums and managed the main stage headline act at Glastonbury Festival (1992). At Falmouth, Adrian was executive producer at AMATA for six years, working with artists including Cara Dillon, Pussy Riot and Elton John. Adrian is currently responsible for all courses at Cornwall Business School. He is Sustainability Champion for Falmouth University, Chair of the Association for Events Management Education and a Trustee of Attitude Is Everything. Adrian is a reviewer for the International Journal of Event and Festival Management. His research interests include potential digital futures for live performances at music festivals. Jason Brown holds a PhD in Electronic Engineering from the University of

Manchester, UK. He has contributed a wide range of articles in top-​tier journals and conference papers. He has a diverse set of research interests, but recently has focused on applications of artificial intelligence and machine learning, ranging

About the contributors  xiii

from computer vision to data modelling. He is currently affiliated with the School of Engineering at the University of Southern Queensland, Brisbane, Australia. Richard J. Buning holds a PhD from the University of Florida, USA, and is a

senior lecturer within the tourism discipline in the University of Queensland, Business School, Australia. His research interests reside at the intersection of physical activity, travel and events. Within this area, his research agenda is focused on how tourists are physically active as both a driver of tourism behaviour and during visitation. Dr Buning leverages his professional career of working in the running event industry managing large-​scale race logistics in teaching project and event management courses. He regularly works with physical activity-​focused organisations, events and communities as a consultant in developing data-​driven business strategy. He regularly publishes on the topics of sport tourism, event management and active transport. Demet Ceylan holds PhD in Tourism from Akdeniz University, Antalya, Türkiye.

Her over 25 years of tourism-​sector experience includes acting as financial controller, CFO and member of the board at Multinational Tourism and Hospitality companies. She leads the ‘Management Shadowing Program’, providing a platform for sector and students to meet at managerial level. She has initiated the Tourism Experiential Learning Program (TELP) for foreign university students in Antalya and the Tourism Team Future Program for Turkish vocational high school graduates pursuing higher education. Her areas of research are destination image studies and tourism human resources. She is currently affiliated with School of Tourism Management at Antalya Bilim University, Türkiye. Ubaldino Sequeira Couto specialises in festivals and events, particularly diaspora

and identity, equality, diversity and inclusion, and the safeguarding of cultural festivals and sports events. His PhD explores the role of diaspora festivals in encouraging social inclusion, and his publications cover a variety of topics in events. He has extensive experience working in education teaching theory courses in festival and event management as well as practical live event classes. He holds editorial board membership in several journals and frequently organises international conferences. Dr Couto is currently an assistant professor at the School of Hospitality Management, Macao Institute for Tourism Studies. Macao, China. Ruth Craggs, PhD, is a lecturer and researcher in the School of Tourism and

Hospitality Management, Technological University Dublin. She lectures on a range of event, tourism and research methods modules at the undergraduate and the postgraduate level, and has been involved in several national and European research projects, including the Next Tourism Generation Alliance. Ruth received her PhD from the University of Salford. Her research interests include event and festival impacts, sustainable events, consumer behaviour in tourism and events,

xiv  About the contributors

business tourism and skills development in tourism. She is currently involved in the Sustainable Event Industry Knowledge (SEIK) project and is a member of Event Management Educators Ireland (EMEI). Made Handijaya Dewantara is a PhD candidate at the Department of Tourism,

Sports, and Hotel Management, Griffith University, Australia. He is also a faculty member at Universitas Prasetiya Mulya, Jakarta, Indonesia. His thesis explores the parasocial interaction in the travel vlog ecosystem to support destination marketing strategy. His research interests are around tourism marketing, destination management and hospitality business. Megan Foster is an experienced social marketer, currently part of a koala

conservation project at Social Marketing at Griffith, Griffith University, with a particular focus on reducing dog and koala interactions in Southeast Queensland. Megan’s work focuses on applying marketing to create awareness and education to benefit the environment and community. Manuela Guerreiro holds a PhD in Economic and Management Sciences and

an MSc in Cultural Management. She is the Programme Leader of the Master of Marketing Management, a member of the Board of the PhD in Tourism and Co-​ coordinator of the Research Centre for Tourism, Sustainability and Well-​being (CinTurs), where she is also an integrated researcher. She has published several articles in scientific peer-​reviewed journals, books and international book chapters. She also coordinates or participates in funded marketing and tourism research projects. Her research interests entail marketing and consumer behaviour, brand management, social media marketing, arts and events marketing, marketing and design, destination branding and image. She is affiliated with the Faculty of Economics, University of Algarve Portugal. Kirsten Holmes is Professor in the School of Management and Marketing at

Curtin University, Western Australia. She is past Chair and a Fellow of the Council for Australasian Tourism and Hospitality Education (CAUTHE) and has taught events management in Australia and the UK. Kirsten’s research examines event sustainability, including mega-​event legacies and event volunteering. She is the lead author of Events and Sustainability (Routledge, 2015) and an associate editor of the leading sector journal Event Management. She has completed two projects for the International Olympic Committee on Olympic legacies. Antti Honkanen, PhD, has worked for decades as a tourism scholar. His background

is in economic sociology, and is specialised in tourism, leisure and event studies. He has been the director of tourism research units in two different Finnish universities. He was a board member of the Finnish Society for Tourism Research 2004–​ 2020, and chairman 2010–​2019. His research interests include tourism statistics,

About the contributors  xv

seasonality, motivations in tourism and events, consumer behaviour and cultural sustainability. Allan Jepson, PhD, is an interdisciplinary researcher at the University of

Hertfordshire, UK. He is following a research track on well-​being outcomes through contemporary leisure experiences. Allan’s research is framed by a desire to understand the multifaceted and complex relationships between sociology, psychology and physiology and how these inform our experiences and subjective short/​long-​term well-​being. Allan has established national and international research teams to investigate specific aspects of well-​being related to marginalisation, including: work-​based stress and mental health, loneliness and isolation in the over 70s, food festivals, place and well-​being, neurodivergent populations, and salsa dancing and well-​being. Sari Karttunen, Doctor of Social Sciences, works as a senior researcher at the

Center for Cultural Policy Research CUPORE and visiting researcher at the University of the Arts Helsinki, Finland. She also holds the position of adjunct professor in cultural policy at the University of Jyväskylä, Finland. She specialises in the sociology of artistic occupations and the construction and criticism of cultural statistics and other knowledge bases for cultural policy. Her current interests include the practice of community art and the role of festivals in cultural policies. She served as the co-​coordinator for the Research Network Sociology of the Arts of the European Sociological Association between 2017 and 2019, and as the coordinator between 2019 and 2021. Maarit Kinnunen wrote her dissertation on festival experiences at the University

of Lapland, Rovaniemi, Finland. Her focus areas are live music events and their audiences. She has published in various tourism, festival and music journals, including Journal of Travel Research, International Journal of Event and Festival Management and Metal Music Studies. She is a visiting scholar at the University of Lapland, Finland, and works as part-​time researcher for LiveFIN, the network and interest group of Finnish live music events. Ebru Günlü Küçükaltan holds a PhD in tourism and is currently associated

with Faculty of Business, Dokuz Eylul University, Türkiye. She is the chair of both the Department of Tourism Management and the Academic and Personal Development, Support, and Implementation Research Centre. Her primary areas of research interest are the application of management theories and behavioural sciences to the hospitality sector as well as the moral considerations surrounding women’s and animals’ rights in the travel industry. Among her many publications, her co-​authored papers on crisis management and on workplace friendship in travel agencies were awarded with the best paper awards at international conferences, while her co-​authored book chapter entitled ‘The Hajj: Experience of Turkish

xvi  About the contributors

Female Pilgrims’ earned her the Outstanding Author Contribution Award from the Emerald Literati Network. She delivers courses in the field of organisation and management at the undergraduate and postgraduate levels. Clifford Lewis holds a PhD in Marketing from the University of Wollongong. His

research focuses on place marketing, specifically exploring LGBTQ+​ inclusion both within one’s community and within recreational contexts. Through his work, he calls for a more nuanced and sensitive approach when conducting research with LGBTQ+​people that considers the diversity encapsulated by the acronym. Prior to his academic career, he held senior positions in the market research industry consulting on projects that informed policy and practice across Australia. He is currently affiliated with the School of Business at Charles Sturt University in Australia. Mervi Luonila, DMus in Arts Management, works as senior researcher in the Center

for Cultural Policy Research, Cupore. In her current projects, she explores the impacts of arts and culture in cities and regions, focusing on especially on cultural-​ led development and cultural policy. Her research interests also concern issues of community and culturally sustainable development as well as the management topics of arts productions, especially in the context of arts events and festivals. Her research has been published recently in International Journal of Event and Festival Management, Event Management, Journal of Policy Research in Tourism, Leisure and Events, International Journal of Cultural Policy, Journal of Business Research and International Journal of Arts Management, among others. Enya Moore, PhD, is a researcher, writer and educator, whose work focuses on

design, arts, and cultural festivals and their role within wider social, political and economic contexts. She completed her PhD thesis titled ‘Design Encounters: A Critical Analysis of Design Events 2018–​2022’ at the University Technology Sydney in 2022, and is currently working on the Irish Research Council-​funded project ‘Festivals, Audiences and Digital Experience’ (FADE) at the Technological University Dublin led by Dr Bernadette Quinn and Dr Brian Vaughan. Enya is an experienced journalist and editor –​for example, Frame (NL), Icon (UK), Blueprint (UK) and InDesign (AUS). Her academic writing has been published in Journal of Design History, Design Issues, Design and Culture, Plots and Australasian Journal of Popular Culture. Simon Mosey is the director of the Haydn Green Institute (HGI) for Entrepreneurship

and Innovation, Nottingham University Business School, University of Nottingham, UK. Simon’s research interests address technology entrepreneurship, entrepreneurship education and the building of a culture of innovation. Simon has held research and management posts at Akzo Nobel and Courtaulds.

About the contributors  xvii

Lizette Olivier holds a PhD in Management from the University of Newcastle,

Australia. She is a lecturer at the Business School at the University of Newcastle, where she teaches in management, marketing and tourism. Drawing from over 20 years of international business experience, she infuses her event tourism and marketing research with practical insights. Her interdisciplinary methodology fuses business strategy, consumer behaviour and societal trends, enriching the discourse within events, tourism and marketing studies. With a foundation in advertising, marketing and international trade research and development, her academic career is further complemented by her multicultural business experience, including being a founder director of the Klein Karoo National Arts Festival in South Africa. Lizette’s research focuses on marketing and consumer behaviour in tourism and events. Neil Ormerod holds a PhD in Tourism Management from the University of Exeter,

UK, and is currently principal researcher at the Research Centre for Tourism, Sustainability, and Well-​being (CinTurs). Neil specialises in evaluative research within the fields of events, tourism, leisure and policy. Prior to joining CinTurs, Neil was Research Fellow at the School of Events, Tourism and Hospitality Management, Leeds Beckett University, UK. Policy and impact are central to Neil’s work, including published research on the impact of tourism research on policy and practice, and several programme evaluations for the Economic and Social Research Council (ESRC). In 2019, Neil won the Council for Hospitality Management Education (CHME) research impact prize for his contribution to a study on problem gambling and leisure development in Leeds, UK. He is affiliated with the Faculty of Economics, University of Algarve, Portugal. Işıl Özgen holds a PhD in Tourism Management from Dokuz Eylul University,

Izmir, Türkiye. She has a range of academic publications both nationally and internationally. Her research interests include food and beverage management and environmental management in tourism. She is currently affiliated with the Faculty of Business, Dokuz Eylul University.

N. Nida Özgen is a PhD candidate at the Department of Tourism Management,

Balıkesir University, Türkiye. Her research areas cover event management, gastronomy tourism and gastronomy marketing. She has published articles and book chapters on these topics. Bernadette Quinn, PhD, is a senior lecturer in Technological University Dublin.

She publishes mainly on arts festivals and cultural events, being interested in the roles they play in transforming space and in shaping community and place identities. A current interest is the digitalisation of arts festivals. Bernadette is widely published in international journals and book chapters, and recently co-​edited

xviii  About the contributors

Festivals and the City: the Contested Geographies of Urban Events (University of Westminster Press, 2022). She teaches event management and tourism modules at undergraduate and postgraduate levels. Sharyn Rundle-​Thiele holds a PhD from the University of South Australia,

Australia. She is a social marketer and behavioural scientist. Sharyn is also the founding director of Social Marketing at Griffith and is editor-​in-​chief of Journal of Social Marketing. She has led projects that have changed behaviours for 10,000’s of people in areas including health, the environment and for complex social issues. Sharyn has led programmes that have increased healthy eating, changed adolescent attitudes to alcohol drinking, reduced food waste, increased dogs’ abilities to avoid koalas, and many more. She has published more than 200 books, book chapters and journal papers. Lakshi Senevirathna is a PhD candidate at the Department of Tourism, Sports

and Hotel Management, Griffith University, Australia. Her thesis investigates the applicability of community engagement in event impact management. Her research interests entail community engagement, event management and event volunteers. Kiri Shafto is a PhD candidate in Applied Health Sciences at the University of

Manitoba. She has worked for many years as an analyst and epidemiologist in the field of public health. She is fascinated by non-​traditional data and methodologies that can help solve complex problems, particularly as they relate to societal well-​ being. Her broad research interests include understanding how individual wellness can be built in leisure settings and how this helps grow social capital and community resilience. Richard Shipway is an associate professor in Sport Event Management in the

Department of Sport and Event Management, Bournemouth University, UK. His research interests focus on sport tourism, Olympic studies, the impacts and legacies of international sport events, crisis and disaster management, entrepreneurship and innovation, sport event volunteering, and sport ethnography. Insun Sunny Son is senior lecturer in Event and Tourism Management at UniSA

Business, University of South Australia in Adelaide, Australia. Sunny holds a PhD from the University of Queensland, Australia. Her research and teaching activities focus on event management and strategic use of events for destination development, community development, placemaking, well-​being and public diplomacy. She has been involved in several research projects on local and international festivals and sports events, particularly in Asia and Australia. She serves on the editorial boards of the International Journal of Event and Festival Management’ and Event Management.

About the contributors  xix

Raphaela Stadler is Associate Professor for Tourism and Event Management at

MCI (Management Centre Innsbruck), Austria. She holds a PhD from Griffith University, Australia, and spent several years as a senior lecturer in Event Management at the University of Hertfordshire (UK). She is currently working on various multidisciplinary research projects to better understand the sociological and psychological impacts contemporary leisure experiences (festivals, events and tourism) have upon individuals, families and communities. Her specific research interests and areas of expertise include community events and festivals, community cultural development, power and empowerment, and memories as well as well-​ being and quality of life. Chris Symons is a Sport and Leisure consultant. He is former Chief Executive

Officer of BH Live, Bournemouth, UK, and former Director of Development for GLL (Greenwich Leisure Limited), UK. Chris has over 30 years’ work experience across the leisure, sport and events sectors and holds various board of trustee and non-​executive director roles within the leisure industry.

Ruth Taylor is the course lead for the Tourism, Hospitality and Events programme

at Curtin University, Perth, Western Australia. She has contributed a wide range of articles in top-​tier journals, conference papers and book chapters published by international publishers. She has been involved in research projects in tourism, events and service operations. She acts as an ad-​hoc reviewer for international journals and conferences, including Anatolia and International Journal of Hospitality Management. Her research interests include services and operations management in an interdisciplinary context. Ruth is currently a lecturer with the Faculty of Business and Law at Curtin University. Aaron Tkaczynski holds a PhD in Marketing from the University of Southern

Queensland, Australia. He is currently a senior lecturer in both tourism and events in the School of Business in the Faculty of Business, Economics and Law. Aaron’s research expertise and experience stems from market segmentation modelling. He is also interested in tourism seasonality, social marketing and small-​scale festivals. He publishes within these fields of research in top-​tier journals. Since 2021, he has been part of a research team that will co-​design and implement community engagement and threat mitigation initiatives in partnership with local governments to support koala conservation in Southeast Queensland. Christine M. Van Winkle holds a PhD in Parks, Recreation and Tourism Management

from Clemson University and currently works as a professor at the University of Manitoba. Christine is committed to community-​based research that explores the roles of festivals and attractions in communities. As a former festival and event creator and coordinator, she brings both practical experience and theory-​based

xx  About the contributors

research to inform practice. Through her research, Christine has worked with more than 30 different festivals and attractions nationally and internationally. Her research explores festival experiences, information and communication technology at festivals and events, emergency management at events, and the role of festivals and events in recovery after disaster. Christine’s work has been published widely and appears in tourism, leisure and event journals, books, conference proceedings and reports. Trudie Walters, PhD, is a social research manager with Scarlatti in Ōtautahi

Christchurch, Aotearoa New Zealand, working on a variety of projects for clients based around the country. She is also adjunct Associate Professor in the Faculty of Environment, Society and Design at Lincoln University in New Zealand. Her academic research is centred on events and leisure as interdisciplinary lenses through which to understand the inner workings and values of society. Her research is firmly positioned within a social science framework, while clearly linking into the applied reality of events and leisure as social phenomena, areas of academic research, global industries, and practices. She serves on the board of directors of the Australia and New Zealand Association for Leisure Studies, and is on the editorial board of a number of journals. Nicholas Wise earned a PhD from Kent State University, Ohio (USA), in 2012.

He has edited ten books and has published over 50 articles in internationally recognised peer-​reviewed journals. He has been involved in education-​focused projects funded by Erasmus and he has contributed to research projects funded by state and local organisations in Arizona and the US Southwest. He is an associate editor with two journals, Event Management and Local Economy. His research interests include sense of place, placemaking and destination planning, and he adopts a geographical lens in his research. He is currently affiliated with the School of Community Resources and Development at Arizona State University, based in Phoenix, Arizona.

INTRODUCTION TO THE SERIES

The Routledge International Case Studies in Tourism Series is projected to fill in a gap in the existing textbook collections on tourism and its related subject fields. Despite the fact that most textbooks in the field contain cases mostly as end-​ of-​ chapter sections, they mainly embrace cases with in-​ class discussion questions listed in the end. Therefore, the execution of such case studies hardly goes beyond distributing or sharing case-​related information with students, and then to encourage them to discuss case-​related issues individually or as a group. Instructors are often not provided with enough information on how a case study should be implemented, what different implementation methods could be used, and what outcomes are expected from the application of the case. Such mundane structure of cases often leads both instructors and students to lose enthusiasm in in-​class applications of cases. Moreover, cases on specific subfields and headings are often limited, with a few included in a number of tourism textbooks requiring instructors and students to search a variety of sources to find appropriate cases matching their course contents. Therefore, there seems to be a need to combine a number of cases on specific tourism-​related subjects in book series, each of which could, then, serve as a key reference of cases on the concerned subjects. To this end, The Routledge International Case Studies in Tourism Series is envisioned to embrace cases on various tourism subjects, expansively found in the curricula of higher education programmes. Such subjects would range from tourism marketing to event management in tourism, and from food tourism to entrepreneurship and innovation. Each book in the series would gather cases on one of these specific subjects and provide opportunities for students to apply their theoretical knowledge to real-​life cases or imaginary scenarios. The strength of the series, therefore, stems from each case study being presented in a way to include: the aim and objectives of a case study; the expected learning outcomes

xxii  Introduction to the series

from its application; the required background knowledge of students for its effective implementation; the steps of implementation in class (or online); and further reading and research suggestions. While this structure would encourage authors to carefully design their chapters, instructors and students would benefit from easy-​to-​use case studies. Series Editors Gürhan Aktaş Metin Kozak

PREFACE

In line with the overall aim of The Routledge International Case Studies in Tourism series, this second volume of the series on Event Management aims to offer a variety of cases as supplementary teaching material in event education. This is because, in parallel with the number of events organised in recent years, the number of participants in such events has also increased. Events have always been an important part of people’s leisure activities, but developments in transportation and technology are changing the way that events are planned and managed. The diversity of the organised events is not only at the local level but also at the national and international levels. In terms of content, the type of events varies from music to education and from sports to culture. In this respect, events have a distinctive social, cultural and economic role in their hosting regions. In addition, over the last few decades, the number of courses offered under the name of event management in such departments as tourism and public relations at the university level has increased. More importantly, undergraduate and graduate programmes offering a specific degree in this field in some countries, such as the US, UK, Canada, Australia, and others, are proliferating. Therefore, case studies contributed by experts on a broader range of topics and countries are required to enrich the course content taught in such courses or programmes and to include examples from practice. The purpose of this book is to fill such a gap. In this collection, each case follows a uniform format consisting of its duration, learning outcomes, target audience, teaching instructions and further reading; hence, it is easy to use for both students and instructors. The aim is to enable instructors to enrich their classes with cases entailing alternative teaching methods, while students will be able to comprehend the applicability of theoretical knowledge to real-​life events. When selecting cases, a special effort was made to collect cases

xxiv Preface

on different aspects of event management written by the invited academics and professionals with industrial and/​or research expertise. The 27 cases included in this volume can be split into two main sections: those on macro impacts of events, and those on the principles of event organisation. Therefore, the first group of cases mainly concentrate on the topic of destination-​ event fit. Case 1 by Son questions the long-​term impacts of event concepts and the role played by events in place activation with an investigation of the Stirling Laneways, an art and entrainment event held in Stirling, Australia. Similarly, Case 2 by Wise considers placemaking principles in newly designated event spaces and aims to engage students in assessing the impact of an international event, namely the European Capital of Culture, in placemaking through the use of virtual maps. The sustainability of events from the perspective of environmental impacts is dealt with in Case 3 by Craggs. Based on a real-​life outdoor music and art festival scenario, the case aims to help students understand how the United Nations Sustainable Development Goals relate to the sustainable initiatives practiced in the events industry. In this section, there is also a good range of cases delving into event planning issues. The most comprehensive investigation aimed at this approach can be found in Case 4. Authored by Olivier, the case looks into a national arts festival held in South Africa, and embraces analyses of stakeholder involvement, branding, commercialisation, nation-​building, local business enhancement and leadership in events. Case 5 by Lewis focuses on stakeholder perspectives in organising LGBTQ+​events, and aims to encourage students to consider the setting and the theme of an event when identifying such perspectives. In Case 6, Senevirathna and Dewantara also emphasise the importance of stakeholder support in events, and offer an imaginary scenario for students to understand how event organisers should approach opposing stakeholders at a music festival. Similar event planning approaches from stakeholder perspectives are also followed in Case 7, contributed by Küçükaltan, for vegan festivals and in Case 8 by Couto for diaspora events. The second section of the book aims to engage students with the multifaceted tasks of event organisation. Designed as a ten-​week-​long teaching tool, Case 9 by Taylor and Holmes emphasises a creative place activation through events and proposes the organisation of an event by students in support of industry professionals. The case, due to its lengthy implementation period, embraces the comprehensive phases of event organisation stretching from event conceptualisation to event evaluation. Also supporting the organisation of events for education purposes, Couto highlights the importance of answering 5Ws –​that is, what, who, where, why, when –​of events in Case 10. Shipway et al. present a diagnostic framework of event entrepreneurship and innovation in Case 11, which aims to help students understand how innovative events can be operationalised in different event ecosystems. On a more focused design, Case 12, co-​authored by Van Winkle and Shafto, inspires students to contemplate potential risks involved in event organisation and assigns them to present risk management strategies for a music festival held in a forest.

Preface  xxv

The section on organising events continues with Case 13 by Aktaş. The case focuses on the demand side of an international event, and uses a six thinking hats role-​play technique in its implementation, during which student teams are asked to formulate event strategies based on the needs and expectations of Gen Z as a target attendee market. The demand side of events is also the subject of investigation in Case 14 by Quinn and Kinnunen and Case 15 by Kinnunen and Honkanen. The first case highlights the dynamic characteristic of the festival experience, and the nature of solo attendees. Also focusing on the event experience by attendees, the latter case questions the types of inappropriate behaviour faced by attendees at music events and how this can be mitigated through safe space policies put into practice at event venues. Case 16 by Mair and Brown, touches upon one of the most debated topics of today, not only in event studies but in all types of disciplines, and raises the question of how technology and artificial intelligence will shape event experiences in the future. Technology from the perspective of hybrid events is also dealt with in Case 17 by Moore and Quinn, where the varying needs and expectations of in-​person and online attendees are compared within a concept of a hybrid music event. Case 18 by Ceylan aims to help students understand how to bid for international events, and what venue-​specific factors should be taken into consideration in organising an international tennis tournament. Event bidding is also the main topic of Case 19 by Buning. The case aims to prepare students on how to respond to event bids, and what venue features to consider in order to strengthen their bidding proposals. Case 20 by Aktaş et al. is designed to engage students with event site planning considerations, and will allow them to work on an imaginary scenario to locate miscellaneous components of a cultural festival in a town setting. Sponsorship, as one of the distinctive managerial tasks of event organisations, is dealt with in Case 21 by Mair, in which students are asked to elaborate on the ethical issues of sponsorship in sports events. Volunteerism, another important aspect of event organisations, is put into perspective in Case 22 by Luonila and Karttunen. Offering two real-​life music festival scenarios, the case helps students understand the importance of volunteers in events, and the best practices of volunteer management. Case 23 by Guerreiro and Ormerod will help students consider the financial aspects of events, and evaluate varied funding sources with a case of a real-​life cultural festival annually held in Portugal. Similarly, Case 24 by Dewantara and Senevirathna explores the economic impacts of events through cost-​benefit analyses. Case 25 by Stadler et al. is especially suited for those students aiming to develop a career in the events industry. The case explores sustainable human resources management principles through first-​hand experiences of different well-​ being activities by students. The case guides students to discuss the applicability of these activities to event organisations. Case 26 by Bossey introduces students to the collecting of quantitative data at events with a triple focus on: the ‘liveness’ of music events; the impact of information and communication technologies on liveness; and the accessibility of

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xxvi Preface

music events. The importance of event research is also emphasised in Case 27 by Tkaczynski et al. The case is designed for students to assess the most suitable data collection techniques at events, and to analyse data for improvement. The case also offers a data set collected at a dog festival for an analysis by students. As this outline suggests, the volume is hoped to become a major source in event education with its coverage of a wide-​range of event topics as well as varied teaching techniques, that is, role-​plays, scenario analysis, brainstorming and actual event organisation –​suggested in different cases. We would like to thank all of the contributors for their inspiring cases, and believe that the cases stemming from their teaching experience and knowledge of event studies will be implemented in all sorts of event education programmes around the world. Co-​editors Judith Mair Gürhan Aktaş Metin Kozak

Case 1 EVENT CONCEPTS FOR PLACE ACTIVATION Insun Sunny Son

Learning objectives

Upon completing the case, participants will be able to: • assess challenges and create event concepts for problem-​solving; • design creative and strategic event concepts that are appropriate for a place to create long-​term impacts; • explain the unique characteristics of events that explain the role of events for place activation; and • identify the diverse outcomes that events can deliver for the community and economic development. Duration

Approximately 60–​90 minutes. Target audience

The case is designed to support discussions on the use of events for achieving strategic goals, particularly for place activation and creating positive long-​term impacts. This practical case is applicable to students at various levels of education, from vocational training to bachelor’s and master’s levels. Participants, however, will get the most benefit from executing the case when they are able to apply knowledge of the role of events for placemaking to the case. This case is designed to be an in-​class activity for group work, but it can be used as a topic for an assessment of an event design course for individual work. DOI: 10.4324/9781003390381-1

2  Insun Sunny Son

Teaching methods and equipment

The case is designed to be used to stimulate brainstorming and group discussion. Students may use a mobile device or a computer to conduct further research. Groups will be invited to present their event concept to the class. Therefore, to effectively execute the case, use group classroom seating arrangements to encourage cooperative learning through group work. In addition, a computer and a projector in the classroom would be useful to show the class the photos and video of the Stirling Laneways and illustrate how the Stirling business association could successfully achieve their objective. Teaching instructions

The following three steps are in line with the case being executed with a group of three to five participants. Details of each step are elaborated below: Step 1: The use of events for placemaking

Step 1 introduces the literature on how events are used for placemaking (i.e. Son et al., 2022), which can be applied to analyse the case and design an event concept. Participants are encouraged to undertake further reading prior to the class. Some of the main points to be understood are: • Events are frequently used within placemaking strategies by local governments and business associations to achieve 1) economic development; 2) place identity and branding; 3) place activation; 4) social capital building; and 5) community capacity development. • Critical success factors are needed for events to achieve successful and sustainable placemaking outcomes and are identified as 1) engagement and collaboration; 2) a good fit between event and place; 3) strategic event concepts; and 4) a holistic placemaking plan. Step 2: Case 1 and brainstorming an event concept

Participants should read the first case, the Stirling Market and Stirling business community, familiarising themselves with the situation and understanding the issues. Participants are expected to read only the first case at this step. Acting as the Stirling business association representing the Stirling business community, each group is required to brainstorm and generate an innovative event concept for a new event for the Stirling business community to leverage the Stirling Market. The key aspects listed below (the 5 Ws and the key determinants of event success) can be introduced for participants to consider in their brainstorming to generate an event concept tailored to the specific context and needs.

Event concepts for place activation  3

• Why is the event being held? What is the event supposed to achieve (the aim/​ objectives of the event)? • What is the event content or product? This requires a detailed consideration of not only the core of the event, but also the expected product and augmented experience (product) which are the secondary services. These will increase the scope and attractiveness of the event. • Who will be the stakeholders in the event? Why is your event appealing to these people? This requires a detailed consideration of the event target market in terms of their characteristics, and other stakeholders (i.e. local business community) that may need to be engaged for the event. • Where will the event be staged? Decisions of venue must relate back to the event’s aims. • When will the event be held? Consider whether the proposed timing suits the event’s aims. • Key determinants of event success should be identified to raise awareness of their importance and to prepare a plan to achieve them successfully from the early stages of concept development. Each group presents their best idea to the class. After each presentation, the instructor facilitates class discussion to improve the presented idea and provide his/​her own assessment. Step 3: The Stirling Laneways

In this final step of the case, participants read the second case, the Stirling Laneways, which is staged by the Stirling business association. Each group discusses the following questions and presents a summary of their discussion to the class. • What did the Stirling Laneways achieve? • What do these outcomes mean for the Stirling business community? • What are the key success factors of the Stirling Laneways for placemaking? The instructor should guide the students to link the case back to the literature introduced in Step 1 and conclude the case study with the following: • The Stirling Laneways was staged by the business association to increase exposure of local businesses and foot traffic in the main street (economic development) by enhancing vibrancy and creating a unique ambience in the place (place activation). • The case demonstrates that the Stirling Laneways was effective in having a prolonged effect on the place and the business community by guiding people to explore new and different ways to enjoy the place. In addition, short-​lived effects include increased foot traffic during the event.

4  Insun Sunny Son

• Community capacity was also developed through the Stirling Laneways as it created businesses’ interest and involvement in placemaking and inspired them to develop ideas for new placemaking initiatives and activities to deliver. • The key success factors of the Stirling Laneways for placemaking were 1) active engagement with businesses; 2) a good fit with the needs of the business community, people attending the Stirling market, and the existing image and charter of Stirling; and 3) a strategic event concept which focuses on the creation of new patterns of movement in the place. More information about the Stirling Laneways and the Stirling village map can be accessed using the web links shown in Further Reading. Cases Case 1: The Stirling Market and the Stirling business community

Stirling is a town in the Adelaide Hills, South Australia, approximately 15 km from the Adelaide city centre. This traditionally strong community of artists, which has a population of around 2,500, is a popular destination as a regional gateway for many Adelaide residents, particularly due to its proximity to the city and other suburbs and its various offerings including stunning scenery. Adelaide is the capital city of South Australia, the state’s largest city and the fifth-​most populous city in Australia. South Australia is the fourth largest of Australia’s states and territories by area and the second-​smallest state by population. Stirling is proudly home to the Stirling Market, a long-​established local market offering a family-​friendly day with live music, tasty food and excellent shopping. This market has been a favourite among locals for years but has grown a large and loyal following of Adelaide residents who regularly make the trip to the Adelaide Hills each month. The Stirling Market is held on the fourth Sunday of every month, with more than 80 stalls to explore which offer everything from fresh produce, plants and local natural beauty products to arts, clothing, homewares, books and jewellery. It is a free event, held outdoors on Druid Avenue, Stirling. The market is volunteer-​led, and all net proceeds are donated to community organisations within the local area. Although the Stirling Market is a successful event drawing people to Stirling, it does not draw people to Stirling businesses. Stirling has a large commercial strip, with a great number and wide variety of shops, which normally attract locals and non-​locals alike. However, traders, particularly food traders such as cafes and restaurants, found that the Stirling Market days were their worst trading days. People coming to Stirling on market days were going to the market and then leaving. There is plenty to explore in Stirling if visitors want to make a full day of it, from the main street’s pretty shops to local cafes and restaurants, but the market visitors’ movement was limited to around the market area and did not flow into the

Event concepts for place activation  5

main street even though it is only a few minutes away from the market venue. For this reason, some traders even closed their shops on market days. The Stirling Business Association represents the Stirling business community with over 150 members, spanning a broad spectrum of retail, hospitality, health and professional services. The Association recognised the opportunity that the market could have for the Stirling business community and that there was a need for an initiative such as an event to leverage the market for the benefit of the local businesses. Case 2: The Stirling Laneways

The Stirling business association working with locally based world-​class artists curated an event, called the Stirling Laneways, to be associated with the Stirling Market. The aim of the Stirling Laneways is to take visitors to the Stirling Market to other spaces on market days, thereby encouraging people to move around Stirling. The Stirling Laneways is an art and entertainment event, held on market days, that encourages visitors to linger in different spaces around Stirling. Performance artists and musicians play on stages in alleyways, drawing people into those areas, as illustrated in Figure 1.1. A consistent visual dressing on streets attracts people down various streets (see Figure 1.2). Many market visitors were not previously aware of the difference between the Stirling Market and the Stirling Laneways or who organises what, but the Stirling Laneways event has successfully turned

FIGURE 1.1 Performance

Source: The author.

drawing the market visitors into the business areas.

6  Insun Sunny Son

FIGURE 1.2  Colourful

streets.

signs on streets attracting the market visitors down various

Source: The author.

people around and encourages them to walk down lesser-​known corridors and explore unfamiliar businesses in Stirling. Several traders, including non-​food traders such as a bookshop and a computer shop, are now opening and trading on market days, as it is now viable for them to open on these days. The Stirling Laneways has created not only a temporal effect on the business community on the event days, but also more permanent effects that last beyond those days. The Laneways has assisted in steering people to experience and explore something new and discovering new ways to enjoy Stirling. For example, a local chocolatier has been actively engaged with the Laneways and now operates successfully on market and non-​market days. Their premises could be seen as a difficult place to attract visitors to, as it is down a not particularly beautiful alleyway, but it is now attractive to visitors. Another successful outcome of hosting the Stirling Laneways is active engagement from more and more businesses. After

Event concepts for place activation  7

witnessing the success of several traders who have been actively engaged with the Stirling Laneways, other businesses are now willing to engage with other activation programmes which lead to active communication among businesses and present new initiatives for their business community to succeed. With such outcomes, the Stirling Laneways has been inducted into the Mainstreet South Australia ‘Hall of Fame’ after receiving the Award for ‘Best Market/​Street Activation’ three times in 2016, 2017 and 2018. The Stirling Laneways was also a Brand South Australia Regional Award Finalist for Festivals & Events. References /​Further Reading Son, I.S., Krolikowski, C., Rentschler, R. & Huang, S. (2022). Utilising events for placemaking of precincts and main streets: Current state and critical success factors, Event Management, 20 (2), 223–​235. Stirling Adelaide Hills. (2023a). Laneways, www.stirli​ngad​elai​dehi​lls.com.au/​lanew​ays. Access Date: 7 May 2023. Stirling Adelaide Hills. (2023b). Stirling Village Map, www.stirli​ngad​elai​dehi​lls.com.au/​ sta​tic/​uplo​ads/​files/​5-​stirl​ing-​vill​age-​map-​wfsnb​nldd​iah.PDF. Access Date: 7 May 2023 Stirling Adelaide Hills. (2023c). Stirling Laneways: Event Plan 2022–​23, www.stirli​ngad​elai​ dehi​lls.com.au/​sta​tic/​uplo​ads/​files/​2022-​23-​event-​plan-​wfylk​qliv​spt.pdf. Access Date: 7 May 2023

Case 2 PLACE PLANNING WITH PLACEMAKING PRINCIPLES Nicholas Wise

Learning objectives

Upon completing this case, students will be able to: • consider placemaking along with planning techniques; • identify the principles that planners use to engage people with event developments; • compare placemaking practices in different destinations; and • evaluate what placemaking principles unite people in newly designated event spaces. Duration

120 minutes in class Target audience

This case aims to engage students with the notion of placemaking. Placemaking is something that cities and destinations are putting more emphasis on as they seek active ways to enhance places and get people to socialise in different spaces. Cities and destinations seek to upgrade spaces or offer events to attract visitors. This case is aimed at students in upper-​level undergraduate classes and master’s-​level classes. Students should have some background in basic tourism, event, or urban planning principles and the impact of event developments on local host communities. Having this prior knowledge will help students critically engage in placemaking principles and how planners think about the benefits of such planning for different stakeholder groups. The activity challenges students to think critically about who is impacted by event planning and development, whilst also allowing students to DOI: 10.4324/9781003390381-2

Place planning with placemaking principles  9

display creativity as they think about how we plan and shape places for people to interact in and around. Because the principles of placemaking are grouped into four main categorisations –​that is, sociability, uses and activities, comfort and image, or access and linkages –​ it is ideal for the students in the class to work in groups of four as they focus on a case, and then the entire class will split into four groups. A class size of 20 students is ideal, as this will allow for 5 initial groups that will each focus on a different example. Later, students can be organised into 4 groups based on each placemaking categorisation. Teaching methods and equipment

Students participating in this case will engage with critical and creative thinking. Students will contribute understanding and interpretation through discussion, evaluation of content, observational analysis, and critical reflections of what is missing and needed to inform planning recommendations going forward. To prepare for the following tasks, in the class prior to executing this example, students can be split into groups of 4 and each group can be assigned to identify a previous European Capital of Culture (ECoC) host city which hosted the event in the last 5 years. Next, each group should locate a copy of the bid document. These are available online and can easily be obtained through a general search. The teaching methods for this example involve a presentation of the Project for Public Spaces principles of placemaking to give students an overview of the types of considerations planners need to consider and how different stakeholders are impacted by event developments (see Project for Public Spaces, 2023). The instructor will also provide an overview of how to add placemarks in Google Earth as well as to save their inputs as a .kmz file. The instructor should prepare a .kmz file in advance of the class with some examples of how to make interpretations using Google Earth where placemaking in the selected landscape is evident. If available, the use of virtual reality (VR) headsets enhances the use of Google Earth when teaching. Students will use their own laptops or tablets to access Google Earth Pro (it is advised that students download the programme to their device as there are more functions and capabilities with the downloaded version compared with the online version). Four different colours of Post-​it notes are also useful for this case to help students organise their thoughts. Much of the class time will involve students working in teams, with each team member focusing on a different categorisation of placemaking and the associated principles. Students will add placemarks in Google Earth and provide interpretations of how they observe placemaking happening in practice. The later parts of the class involve discussion and reflection on the findings. Teaching instructions

This case includes 6 steps of execution in a two-​hour class or seminar. Ahead of the class, ask students to download Google Earth Pro to avoid any delay in opening

10  Nicholas Wise

or starting this programme when class starts. Ideally, this case is designed for a group of 20 students; additional groups of four can be appropriate to focus on more examples. This would allow more students in each group when getting into larger groups focusing on each placemaking categorisation. It should be emphasised that having the initial student groups of 4 set beforehand, and assigning each group a previous ECoC host city and providing them the initial bid document will help avoid any delay and allow students to better prepare for the task. The teaching instructions are detailed around 6 steps. With each step, instructors are offered the details of an example city, Rijeka. Rijeka, host of the 2020 ECoC, is shown as an example to provide details and context to each step. Students should be encouraged to select a former ECoC host city they are most familiar with, or have a particular interest in learning more about. Step 1

Begin the class with an introductory presentation to go through the Project for Public Spaces Principles of Placemaking framework and the four categorisations. When introducing the topic of placemaking, align the presentation with how this is important when thinking about urban planning. Use a PowerPoint presentation or other visual aids to introduce the Project for Public Spaces principles of placemaking. Explain each categorisation and ask students for examples of how they are applied in real-​world settings, when it comes to their understanding of planning practices and also how they experiences places and events. Encourage students to take notes as these can help them develop their thinking in later steps of this case. Include in this overview a critical discussion of how different stakeholders are impacted by destination planning and new developments as cities prepare to host an event. If time allows, ask students to critically discuss how different stakeholders are impacted by event development. Encourage students to consider the perspectives of community members, event organisers, and city officials. The important part of this first step is getting students to think like urban planners and consider why the categorisations and principles of placemaking are used to engage people socially in urban spaces, to enhance place image, to encourage activities, and to improve access through a place. Plan 15 minutes for this first step. Here, the context and recent urban planning and regeneration that took place in Rijeka are offered as an example. The city is known as a working-​class post-​ industrial city, and also one of the most culturally diverse cities in Croatia. It is located along Croatia’s northern Adriatic coast. As a city with an abundance of job opportunities during the peak decades of industrialisation, Rijeka attracted people from around Europe to work in the city. Rijeka was selected to host the 2020 ECoC. The city published its bidding document in February 2016 and was designated to become the ECoC in July 2016. Rijeka was a strategic selection as a host city from Croatia, since other well-​known

Place planning with placemaking principles  11

cities such as Zagreb, Split, and Dubrovnik have been important tourist destinations with high number of visitors. It was also believed by the selection committee that putting Rijeka forward as the Croatian candidate would help Rijeka greatly benefit from European funds and the promotional networks to emerge by being an ECoC host. ECoC 2020 was thus seen as a renewed opportunity for Rijeka to become a European event host and to build a new local urban tourism economy. It was also believed that this event would bring social impacts to an already diversely populated city, including increased civic pride and new opportunities to interact in new urban spaces and facilities. Step 2

Instructors should prepare a .kmz file and present this to the class to display examples of areas that have seen recent event venue developments, or other public spaces in cities designated for or capable of hosting event activities. Where resources are available, presenting a .kmz file from Google Earth to explore different places while also wearing VR headsets adds to the effect of how students experience the site examples. This will put into perspective the learning and how to make critical observations of planned spaces, adding a geospatial understanding of how we experience planning. Much of what the instructor will want to do in this step is show students how to engage with Google Earth and create a .kmz file. For the purpose of this case, these are the key areas students need to know when using Google Earth: • Showing students how to manoeuvre around Google Earth from regular mode, to 3D mode, and into street view mode; • Showing students how to identify and select the placemark icon; • Showing students how to drag and drop a placemark in a particular area, preferably by showing how this is done in different viewing modes; • Once the placemark is dropped, showing students how to add a name to each placemark. At this point, they should pay attention to naming each placemark based on the principle of placemaking that is observed; • Note that in the placemark data entry area, they can add a description. This is where they might add points directly from the bid document to evidence this principle of placemaking was considered when planning for the event; • Last, showing students how to save their placemarks, and create a .kmz file. The commands are: [File –​ Save –​ Save Place As –​ Navigate to your preferred folder –​add a File Name]. Plan 10 minutes for this step to introduce students to these key features and capabilities of Google Earth. Before the class, it is advised to ask students to download Google Earth on their laptops or tablets. Instructors might also provide students with a .kmz file before class as well to allow them to explore pre-​made

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examples of cities with new event venue developments or transformed public spaces to get them using and interpreting with the programme. It is also useful to provide a document of the different layer functions in Google Earth, so they can understand how to change appearances and visualisations of the imagery and content loaded into Google Earth. Step 3

Step 3 moves into the Group Work phase of this case, where student will work in pre-​assigned groups of 4 to analyse placemaking principles and the planning of previous ECoC host city. During this step, students will search the bid document and locate how different principles were engaged with as per their categorisation of placemaking: sociability; uses and activities; comfort and image; and access and linkages. Each categorisation includes 7 to 9 principles, so each student should use the search command in the .pdf of the bid document they are evaluating for their particular principles (note that using similar phrases or synonymous words can help locate more points). This will give students an indication of what principles of placemaking the city puts an emphasis on. To help with organisation, provide each group with 4 different colours of Post-​it notes (one colour for each categorisation), and ask students to write the principles found in the bid document they are evaluating. This step should take around 25 minutes. Looking at Rijeka’s ECoC 2020 bid document, those who composed it stressed how this was a unique opportunity for Rijeka to showcase its heritage and diverse cultures. Much of the focus was on renewal efforts, and they speak of examples of how the city is working with different stakeholders to plan its regeneration. ECoC events attract investors to play integral roles in upgrading infrastructure to re-​attract people to visit and also encourage people to move back to the city as there are new cultural and employment opportunities. As a port city, Rijeka follows a very similar story of the past port ECoCs, including Glasgow 1990, Liverpool 2008, and Marseille-​Provence 2013, all of which can be considered post-​industrial cities. Taking a deeper look into Rijeka’s bid document, readers begin to appreciate the city’s efforts towards promoting engagement among residents. For instance, an overview of the plan from the official Rijeka 2020 website notes ‘programme’, ‘infrastructure’, and ‘growing together’ as the three points of discussion to inform locals and visitors what the city is planning for ECoC 2020. These considerations showcase both tangible and intangible planning approaches to enhance the city. The bid document focuses on several building projects with an emphasis on the restoration of historical buildings. These include the H-​object complex (Museum of Modern and Contemporary Art –​MMCA) and the Ex Bernardi building (RiHub ECoC). The H-​object complex is part of a vast industrial complex known as Rikard Bencic, with the T-​object (Rijeka City Library), Brick House (which includes the Rijeka City Library, Art-​kino, Museum of Modern and Contemporary Art, Rijeka

Place planning with placemaking principles  13

Puppet Theatre, Youth Council Benčić), and the Sugar Refinery (Rijeka City Museum) undergoing restoration efforts. The ship Galeb docked in Rijeka is also an ongoing restoration investment (a part of the Rijeka City Museum). Step 4

As students have a command of how to use and engage with Google Earth (from Step 2 and from pre-​prepared materials), they will continue working in the same group of 4. Now as a group they will begin navigating through the ECoC host city that they were assigned and they will add placemarks where they observe principles of placemaking. They will have Post-​it notes already organised by categorisations from Step 3 and they can title each placemark according to the principle of placemaking observed. If a principle is observed more than once, they can name the first, for example, “interactive”, and then “interactive-​2”, “interactive-​3”, and so on. To initiate a further critical analysis, instructors can encourage students to consider the strengths and weaknesses of the space in relation to the principles of placemaking they are observing, or relate to other principles or categorisations as they see appropriate. It can be a challenge to try and navigate through an entire city. This is why they should look at the bid documents as they also point to particular venues, museums, or attractions, and can navigate around these particular areas to concentrate their focus. Ask each group to save their work as a .kmz file. Plan 40 minutes for students to engage with this step and add placemarks into Google Earth. Going back to the case example of Rijeka, the city’s bid document (Rijeka2020, 2016) was evaluated based on the Project for Public Spaces principles of placemaking. Rijeka’s bid document engaged with 21 of the 33 placemaking principles, and principles from each of the four categorisations were noted. These principles are classified by categorisation in Table 2.1, and where appropriate synonyms were also searched as appropriate to strengthen the search, those words are noted in brackets in the table. Figure 2.1 provides an example of a placemark and the commands where students can add names and descriptions to their interpretations as they navigate through a city and look for evidence from past bid documents in the landscape. TABLE 2.1 Placemaking categorisations and principles interpreted from an evaluation of the

Rijeka 2020 European Capital of Culture Bid Document

Categorisation

Associated Placemaking Principles

Sociability Uses & Activities Comfort & Image

Diverse, Neighbourly, Friendly, Interactive, Welcoming Fun, Active, Vital (or Lively), Celebratory, Sustainable Safe, Clean, Sittable (or Relaxing), Spiritual, Charming, Attractive, Historic Accessible, Walkable, Connected, Proximity

Access & Linkages

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14  Nicholas Wise

FIGURE 2.1  Adding

placemarks around the city of Rijeka where different placemaking principles are observed as guided by developments noted in the Rijeka 2020 bid document.

Place planning with placemaking principles  15

Step 5

Once each group saves their work as a .kmz file, the next step is to organise the class into 4 groups, based on the four categorisations of placemaking. Steps 5 and 6 are based on reflection and discussion, first in new groups organised around categorisation areas, and then as a class to detail final remarks. Working in larger groups, students will discuss the presence of placemaking principles observed in their main categorisation area. Each group will discuss common planning trends and gaps among the principles they observed in the bid document and in Google Earth. Encourage each group to consider and think of practical solutions as to why some principles are less emphasised and why some are more or over emphasised. Assign one student from each group to act as a note-​ taker so that ideas are recorded. Plan 20 minutes for this step. Step 6

Finally, as a class students can reflect on the case and identify some main findings from the activities and how this makes them think about planning and the stakeholders impacted from different perspectives. Encourage students to identify some solutions and develop some critical reflections and recommendations that future ECoC host cities might consider going forward. Allow 10 minutes for this last step to conclude the case activity. Leave students with some last thoughts about how they would like to see placemaking enhanced in their own communities. References /​Further Reading Aquilino, L., Harris, J., & Wise, N. (2021). A sense of rurality: Events, placemaking and community participation in a small Welsh town. Journal of Rural Studies, 83, 138–​145. Dupre, K. (2019). Trends and gaps in place-​making in the context of urban development and tourism: 25 years of literature review. Journal of Place Management and Development, 12(1), 102–​120. Project for Public Spaces (2023). What Is Placemaking: What Makes a Successful Place? www.pps.org/​arti​cle/​grpl​acef​eat. Access Date: 9 March 2023. Rijeka2020 (2016). Bid Document: Rijeka –​Candidate City for European Capital of Culture. https://​min-​kult​ure.gov.hr/​Use​rDoc​sIma​ges/​arh​iva/​Europ​ska%20pr​ijes​toln​ica%20 kulture/​ R ijeka%202020,%20European%20Capital%20of%20Culture,%20 Candidate%20city.pdf. Access Date: 9 March 2023. Wise, N. (2017). Integrating Google Earth into the lecture: Visual approaches in tourism pedagogy. In International Handbook of Teaching and Learning in Tourism, edited by P. Benckendorff & A. Zehrer (pp. 190–​203). Cheltenham, UK: Edward Elgar. Wise, N., Đurkin Badurina, J. & Perić, M. (2021). Assessing residents’ perceptions of urban placemaking prior to hosting a major cultural event. International Journal of Event and Festival Management, 12(1), 51–​69. Wise, N., & Harris, J. (Eds). (2019). Events, Places and Societies. London: Routledge.

Case 3 OUTDOOR MUSIC FESTIVALS AND ENVIRONMENTAL SUSTAINABILITY Initiatives and Practice Ruth Craggs

Learning objectives

On completion of the workshop, students should be able to: • understand the key issues and concept of event sustainability; • give examples of environmental sustainable initiatives adopted at outdoor music festivals; • explore the UN Sustainable Development Goals and consider how they relate to the global events industry; • understand the challenges of environmental sustainability; and • reflect on initiatives and practice adopted at Body & Soul Festival, Ireland. Duration

This is a 2-​hour workshop, including student group work and class discussion. Target audience

Undergraduate students studying sustainable/​responsible event management or event and festival impact modules. Teaching instructions Option 1 (1 Hour)

The instructor should spend 20 minutes giving an overview that includes the following: DOI: 10.4324/9781003390381-3

Outdoor music festivals and environmental sustainability  17

• Defining and discussing event sustainability; • Providing an overview of the three pillars of sustainability (people/​profit/​planet –​ social/​economic/​environmental); • Discussing the key environmental issues at outdoor music festivals (prompt: water, food, power, emissions, energy, travel, waste etc.); • Providing examples of environmental initiatives adopted at outdoor music festivals; • Highlighting the importance of environmental sustainability and the wider issues associated with the events industry, for example, climate change, demand for events, resource depletion etc. Instructors could discuss and highlight that event sustainability is a long-​term effort and includes environmental, economic and social issues (a holistic approach). Key environmental issues to address in discussion could include, for example, water conservation at events and festivals, carbon emissions, air and water pollution, travel to and from and around the event site, food waste, plastic waste and so on. Examples of initiatives to discuss with the class could include the development of environmental policy, supply chain impacts, attendee and performer travel (bicycle schemes, bio fuel), the three Rs, carbon offsets and use of carbon calculators, attendee education and the importance of measurement (environmental investigation agencies, ecological footprint, calculation of waste, carbon footprint etc.). Instructor then distributes the case (students read this), and in groups of 4–​5 complete the following questions (20 minutes), facilitated by the instructor. Each group reports/​presents findings back to the class, using a poster: 1. Categorise each of the Body & Soul initiatives into one of the following: Reduce, Reuse, Recycle. 2. Identify and list the internal and external stakeholders involved in sustainability at Body & Soul and the role that they play. 3. Discuss other environmental initiatives/​practices that could be employed. 4. How can Body & Soul organisers educate and raise awareness of sustainability to attendees? 5. What are the challenges associated with outdoor music festivals (Body & Soul and generally outdoor music festivals) and sustainability? Students report their findings and poster back to the class, and instructor facilitates discussion (20 minutes). Key issues and discussion expected from student answers could include the three Rs and Body & Soul, for example, ‘Reduce’ (the leave no trace pledge, reduction of plastic waste, reduction of diesel consumption, compostable service ware); ‘Reuse’ (reuse of art installations, banners, flags and props, the use of permanent green bespoke stages); ‘Recycle’ (on-​site recycling and the earth guard programme).

18  Ruth Craggs

Students should list and communicate the role of both internal and external festival stakeholders regarding environmental sustainability. Answers could include the importance and role of internal stakeholders, for example, Body & Soul staff and crew (including the event manager, event production, lighting and sound etc), the sustainability team, medical and welfare, volunteers and attendees. Additionally, there are the external stakeholders, such as the role of sponsors, concessions, suppliers, artists and performers, media and the local community. Students could give further examples of initiatives adopted from other music festivals at the local or the international level, of different size and scale, to compare and contrast initiatives from the case study with their own examples. Student answers should consider how event organisers can raise awareness and educate attendees. For example, the importance of communication channels, the use of the website and social media, initiatives that involve attendees (leave no trace pledges, on site recycling, eco cups, rewards etc.), and education through the programme such as talks and workshops pre or during the event. Answers could also consider current challenges such as demand and supply issues; the size, scale and growth of the music event industry; differences in or lack of policy; domestic and international travel; climate change; and the resources required for events and festivals to take place. Option 2 (Hour 2)

Instructor provides a brief overview of the 17 UN Sustainable Development Goals (10 minutes) and directs students to the UN website shown in Further Readings. Instructor gives the following task/​question and students work in groups of 4/​5 (20 minutes): ‘Using an outdoor music festival of your choice, which of the UN Sustainable Development Goals relate to event sustainability? Explain and discuss your choice to the class’. Students report their findings back to the class and instructor to facilitate discussion (20 minutes). Instructors facilitate discussion regarding the 2030 Agenda for Sustainable Development and student answers to make connections to their choice of event and, more generally, to the events industry, such as SDG 7 (clean energy), SDG 8 (decent work and economic growth), SDG 12 (responsible production and consumption), and SDG 13 (climate action). Facilitator concludes and the class reflects on their learning regarding sustainability and outdoor music festivals (10 minutes, prompts as follows): • What did you learn? • What skills did you develop?

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• What did you find challenging? • What initiatives did you find interesting, useful etc.? Takeaway assessment

This is an individual assessment. Students can be asked to produce an infographic giving tips and initiatives for music festivals regarding environmental or social/​ cultural sustainability. Case Introduction

Event and festival sustainability is a central theme in event studies and a practical challenge for the events industry. In recent years there has been a growing awareness of and interest in responsible and sustainable events by both event industry practitioners, and in the academic literature. Arguably, events have the ability to deliver on sustainability (Mair and Smith, 2021) but have a range of impacts on their environment, community and economy. Thus, a key discussion point is how to plan and stage more sustainable events and festivals. This comes with challenges and barriers given the many impacts, including the size, scale and carbon footprint of events, energy and water impacts, use of materials for events, supply chain impacts and social and cultural impacts, all of which require careful management. Quinn (2013, p. 144) defines sustainable events as ‘those that manage to achieve a balance between human activity, resource use and environmental impact’. There has been increased emphasis on achieving sustainability the promotion of sustainable behaviour through events (Mair and Laing, 2012), and at a practical level, this is a challenge for individual and collective events and festivals. The concept of environmental sustainability deals with a range of issues such as climate change, emissions, waste, resource conflicts and depletion, and impacts on vegetation, wildlife and ecosystems and conservation, to give a few examples. A variety of environmental credentials for the events industry and venues exist, including the International Standard on Sustainable Event Management (ISO). At the global level, the events industry can respond to sustainability by considering the UN Sustainable Development Goals. Body & Soul Festival, Ireland

This case focuses on environmental initiatives adopted at Body & Soul, an independent Irish music and arts festival, held in Ballinlough Castle and Gardens in County Meath. The festival includes music, well-being workshops, debates and

20  Ruth Craggs

talks, all of which are held across the site/woodlands. Attendance at the festival is approximately 15,000 and this has grown from 1,800 in 2010. The following provides insights into the types of environmental initiatives adopted at the festival in the area of environmental sustainable event management. The information presented below is extracted from material collected for the Sustainable Event Industry Knowledge Project (SEIK) at the School of Tourism and Hospitality Management, Technological University Dublin. Examples of achievements, initiatives and best practices at Body & Soul include: • A sustainable approach to festival management, to consider planet, people and place • The introduction of eco experiences including a ‘green’ campsite where attendees sign up to a code of conduct (to respect each other and the land). This eco-​friendly campsite is called ‘Us&You’, in which campers commit and pledge to ‘Leave no Trace’, for example, leave no waste and bring rubbish to recycle points and commit to taking their tents home • Increased on-​site recycling rates and waste reduction • A reduction in diesel consumption and the implementation of a smart power plan at the festival • Permanent green build bespoke stages (the Main Stage and Woodland Stage) using sustainable materials constructed so there is no need to hire and build a new stage every year. Green use options include timber and gravel, a tin roof (Main Stage), and a polycarbonate roof (Woodland Stage). When accessing material from the land, only trees that need to be removed, or wind fell are used • The signing of the Green Deal for Circular Festivals (GDCF) in 2019 (part of the Dutch government, Ministry for the Environment), to pledge, connect with other European festivals and share models, best practices and techniques • An ‘Earth Guard’ programme where volunteers are dedicated to efforts such as talking to attendees about recycling, encouraging recycling and directing and making signage/​bin areas and so on clear • Introduction of compostable service-​ware only for food and drink suppliers/​ vendors • Examples of ‘reduce, recycle, reuse’, such as the reuse of decor and flags; the upcycling of whiskey barrels for decor at the festival; the repurposing of art installations; the reuse of wood and props • In 2020, the introduction of an eco-​cup model (sourced from within Ireland) and free water and reusable water bottles across the site • The use of LED towers employing hybrid engines, LED lighting and solar panels • No single use plastics at the festival (banned in 2013) • The festival created a stand-​alone sustainability department with a sustainability manager (a Green Party Counsellor) and Native Events home page (see: www. nativ​eeve​nts.ie) to consult and promote the sustainability campaign of the festival.

Outdoor music festivals and environmental sustainability  21

• Commitments from staff to reduce waste • Educational programmes, for example, youth councils in 2012 • Communication and education to increase attendee awareness of sustainability through workshops, well-​being programmes, art and talks (sustainable fashion, solar energy talks etc.). For example, the ‘Living Lab’ area of the festival is dedicated to sustainability • Carpooling and public transport options for travel to the festival • The festival has committed to being as circular as possible by 2025. For further Body & Soul environmental, social and cultural sustainability efforts and initiatives, please see: Sustainability –​Body & Soul Festival 2023 http://​body​ands​oul.ie References /​Further Readings Body & Soul Festival. (2023). Available at: http://​body​ands​oul.ie. Access Date: 3 March 2023. Mair, J. & Laing, J. (2012). The greening of music festivals: motivations, barriers and outcomes. Applying the Mair and Jago model, Journal of Sustainable Tourism, 20 (5), 683–​700. https://doi.org/10.1080/09669582.2011.636819 Mair, J. & Smith, A. (2021). Events and sustainability: why making events more sustainable is not enough, Journal of Sustainable Tourism, 29 (11–​12), 1739–​1755. https://doi.org/1 0.1080/09669582.2021.1942480 Native Events. Available at: www.nativ​eeve​nts.ie. Access Date: 3 March 2023. Quinn, B. (2013). Key Concepts in Event Management. London: SAGE. Sustainable Event Industry Knowledge (SEIK project). Available at: www.seik​proj​ect.com. Access Date: 3 March 2023 The 17 Goals: Sustainable Development. Available at: www.sdgs.un.org/​goals. Access Date: 3 March 2023.

Case 4 KLEIN KAROO NATIONAL ARTS FESTIVAL A Cultural Affair Lizette Olivier

Learning objectives

Upon completing this case, participants will be able to: • conduct a stakeholder analysis of periodic hallmark events and identify various needs and expectations; • analyse the impact of endorsement on brand perception, and design strategies to leverage their power for increased market influence and commercial success; • articulate strategies for event managers to enhance festival offerings by emphasising contemporary trends, nation-​ building, and the promotion of diversity and increased patronage; • explain the socio-​economic impacts of hosting their periodic hallmark events on the local and national economy, focusing on its role in nation-​building, job creation, tourism boost, and local business enhancement; • identify different leadership styles and principles essential in event conceptualisation and the design of cultural events and leadership tactics. Duration

The four workshop exercises vary in duration: • • • •

Exercise 1 –​2 hours and 30 minutes Exercise 2 –​3 hours Exercise 3 –​1 hour and 30 minutes Exercise 4 –​2 hours

DOI: 10.4324/9781003390381-4

Klein Karoo National Arts Festival  23

Instructors should select the exercise that aligns with the students’ needs and learning objectives, given the content to be taught and available time. These exercises can function independently or be combined as necessary. Target audience

This case study is designed for higher education and can be implemented with undergraduate and postgraduate students pursuing a degree in Event Management, Business Administration or related fields with a focus on strategic management and leadership. It could also be insightful for professional development programmes or executive education courses. Prior knowledge of strategic decision-​making, leadership theories, stakeholder management, and endorsement strategies could be beneficial. This case supports both individual and group study, promoting deep discussions and complex problem-​solving scenarios. It allows for a profound exploration of management strategies in dynamic socio-​economic and cultural settings, fostering an understanding of resilience, adaptability, and continuous improvement in organisations. Teaching methods and equipment

Beyond traditional case-discussion methods, this case study could be explored innovatively through role-​play simulations, inviting students to assume the roles of the Klein Karoo National Arts Festival’s (KKNK) management team during different phases of its development. Brainstorming sessions can encourage creativity in solution generation, examining diverse ways to improve festival offerings and increase patronage. In-​class model designs could serve to visually represent the influence of various stakeholders and the impact of endorsements. Students should be urged to adopt a multifaceted, multimedia approach for designing their projects and presenting their findings. This would encompass using digital tools such as computers for analysis, creating presentations, and drafting feedback. Interactive whiteboards could be employed for real-​time collaboration and brainstorming, aiding in the illustration and communication of complex concepts. Flip charts can serve as an effective tool for outlining ideas and plans during group discussions. Furthermore, students could prepare handouts summarising key points, facilitating a tangible takeaway that reinforces learning and promotes further discussion. This eclectic blend of teaching methods can provide students with a comprehensive, immersive, and practical learning experience. Materials: • • • •

Copies or access to the case study for each participant Laptop with presentation slides Feedback forms Stakeholder template worksheet

24  Lizette Olivier

• Flip chart • Whiteboard or projector • Stationery for group discussions and note-​taking Teaching instructions

Prior to the class, prepare relevant multimedia material, discussion points, workshop sheets, and scenarios for role-​play simulations. The case study and all relevant materials should be well understood by the instructor. Begin the lesson with an overview of the KKNK festival and the case study’s learning objectives. Offer insight into the festival’s history, challenges, successes, and relevance to the subjects discussed. Drawing from the case study, the festival website, journal articles, and listed weblinks, detail the learning goals and instructional methods, including role-​playing, brainstorming, model design, and classroom discussion and reflection. Workshop ­exercise 1: Stakeholder analysis of periodic hallmark events

Duration: 2 hours 30 minutes Introduction (15 minutes):

• Welcome participants and provide an overview of the workshop’s objectives; • Briefly reintroduce the KKNK festival case study to provide context. Activity 1: Understanding Stakeholders (30 minutes): Brief presentation (10 minutes):

• Present on the concept of stakeholders, their importance, and their varied nature in periodic hallmark events. Group brainstorm (20 minutes):

• Divide participants into small groups; • Task: List all potential stakeholders of the KKNK festival. Consider broad categories such as ‘local businesses’, ‘festival attendees’, ‘sponsors’, and so on. Activity 2: Deep Dive into Stakeholder Needs (60 minutes): Stakeholder template worksheet (30 minutes):

• Provide each group with a few stakeholder categories from their earlier brainstorm; • Using the worksheets, groups will detail: • What the stakeholder’s interests in the festival might be; • What the stakeholder might view as positive or negative outcomes from the festival.

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• Any potential conflicts of interest between stakeholders. Group presentation (20 minutes):

• Each group presents their stakeholder analysis findings; • Facilitate a discussion on overlapping interests and potential areas of conflict or synergy between stakeholders. Integration (10 minutes):

• Synthesise common themes and findings across all groups, highlighting key stakeholder needs and expectations. Activity 3: Addressing Expectations (30 minutes): Scenario creation (15 minutes):

• Groups choose two of the stakeholders they analysed; • Groups create hypothetical scenarios where the interests of these stakeholders either conflict or synergise at the KKNK festival. Scenario discussion (15 minutes):

• Groups discuss potential strategies or solutions to address the interests of the stakeholders in their scenarios; • Emphasise the importance of understanding stakeholder needs and finding balanced solutions. Feedback session (15 minutes):

Open Floor Discussion (5 minutes): • Invite participants to share their general feedback, insights, or additional thoughts on stakeholder analysis. Feedback forms (7 minutes):

• Ask participants to fill in feedback forms regarding the effectiveness of the exercises, and any improvements they might suggest. Closure (3 minutes):

• Summarise key learning points and thank participants for their active participation. Notes for the Instructor: • Ensure to emphasise the dynamic nature of stakeholders –​ their needs and expectations can change over time; • Use real-​time examples to illustrate how managing stakeholder expectations can either make or break an event; • Create an inclusive environment where all participants feel comfortable sharing their perspectives;

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• After the workshop, consider sending a compilation of the stakeholder analysis results to participants as a valuable reference tool. Workshop ­exercise 2: Leveraging endorsements and event management for brand enhancement and nation-​building

Duration: 3 hours Introduction (15 minutes):

• Welcome participants and provide a brief overview of the workshop’s objectives; • Drawing from the case study, festival website, journal articles, and provided weblinks, clarify the importance of obtaining endorsements from prominent figures to enhance a festival’s reputation; • Highlight the need to select endorsers who align with the festival’s intended audience and the image the event aims to project. Activity 1: The Power of Endorsement (60 minutes): Group discussion (20 minutes):

• Divide participants into small groups. Each group will discuss and answer: • What are the primary endorsements of the KKNK festival in the case study? • How did these endorsements impact brand perceptions of the festival? • Can you identify any opportunities or potential future endorsements? Designing a strategy (20 minutes):

• In the same small groups, participants will design a hypothetical endorsement strategy for the KKNK festival for the upcoming year, aiming for increased market influence and commercial success. Group Presentation (20 minutes):

• Each group will present their findings to the larger group. Activity 2: Keeping the Festival Contemporary (60 minutes): SWOT analysis (25 minutes):

• Participants will perform a Strengths, Weaknesses, Opportunities, Threats (SWOT) analysis on the KKNK festival, focusing specifically on nation-​building and diversity.

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Brainstorming session (25 minutes):

• Using the swot analysis insights, participants will brainstorm and suggest strategies on: • How the event managers can incorporate more contemporary themes. • Initiatives to promote nation-​building. • Strategies to increase diversity and patronage. Group presentation (10 minutes):

• Each group will present their most promising idea to the larger group. Activity 3: Integration exercise (30 minutes):

• In new groups, participants will combine ideas from both activities to create a comprehensive proposal for the KKNK festival’s next year. • They will detail: • Endorsement strategies. • Event management improvements. • Measures for success. Feedback Session (15 minutes): Open Floor Discussion (10 minutes):

• Invite participants to share their general feedback, insights, or concerns about the exercises. Feedback forms (5 minutes):

• Ask participants to complete feedback forms regarding the workshop’s effectiveness, and any suggestions they might have; • Thank the participants for their involvement and share key takeaways. Post-​Workshop: 1. Collate and analyse feedback forms to refine future workshops; 2. Distribute a compilation of the best strategies and ideas discussed during the workshop to all participants. Notes for the Instructor: • Ensure that all participants are actively involved and encourage quieter members to share their views; • Use real-​time examples or news regarding endorsements to make discussions more relevant; • While discussing contemporary themes and nation-​ building, emphasise the importance of inclusivity and cultural sensitivity.

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Workshop Exercise 3: Identify diverse leadership styles and core principles in event conceptualisation and design Duration: 1 hour 30 minutes Introduction (10 minutes)

Brief Overview: Explain the purpose of the workshop, the learning objective, and how the KKNK case study will be used to achieve this objective. Group discussion (20 minutes)

Task: In groups of 4–​5, discuss the following questions: 1. What leadership styles and principles do you identify from the management and founding directors of KKNK? 2. How did the festival’s leadership navigate challenges, especially during the shift to digital platforms due to the pandemic? 3. What leadership tactics can you identify from the festival’s response to criticisms, stagnation, and the broader challenges presented in the case study? Output: Each group should note down their points and be ready to share with the wider group. Presentation (15 minutes)

Task: Each group will present their findings, focusing on the leadership styles, principles, and tactics they identified from the KKNK case study. Instructor-​led discussion (15 minutes)

Activity: Using a whiteboard, flip chart, or PowerPoint slide projected onto a screen, collate the key leadership styles, principles, and tactics identified by each group. Discuss the effectiveness of these styles and tactics in the context of the KKNK case study. Delve into the broader applicability of these styles and tactics in different cultural event contexts. Role-​play activity (20 minutes)

Scenario: Imagine you are one member of the KKNK’s leadership team during the transition to the digital platform amidst the pandemic. Task: In pairs, one participant plays the role of a concerned artist worried about the festival’s transition to digital format, while the other takes on the role of a KKNK leader addressing the concerns.

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Objective: The ‘leader’ should use the identified leadership styles, principles, and tactics to address the artist’s concerns and ensure their continued participation. Conclusion and feedback (10 minutes)

Reflection: Briefly reflect on the importance of leadership in cultural event conceptualisation and design using insights from the KKNK case study. Feedback: Collect feedback from participants on the effectiveness of the workshop in achieving the learning objective. Note: This workshop exercise can be further expanded or condensed based on the audience’s prior knowledge and the depth of exploration required. Exercise 4 –​The socio-​economic impacts of hallmark events –​A deep dive into the Klein Karoo National Arts Festival (KKNK)

Duration: 2 hours Objective: To explain the socio-​economic impacts of hosting periodic hallmark events on the local and national economy, focusing on its role in nation-​building, job creation, tourism boosting, and local business enhancement. Introduction (15 minutes)

• Welcome participants; • Briefly explain the session objective; • Share a brief overview of the KKNK as an example of a periodic hallmark event. Reading and reflection (20 minutes)

• Distribute the case study; • Allow participants time to read the KKNK case study; • After reading, ask participants to note down key socio-​economic impacts they observed. Group discussion (30 minutes)

• Divide participants into small groups (4–​5 participants each); • Each group discusses and lists down: • Direct economic impacts (e.g. tourism boost, direct employment); • Indirect economic impacts (e.g. branding of Oudtshoorn, increased interest in Afrikaans culture); • Social impacts (e.g. unity through artistic expression, fostering national identity); • Groups should also consider challenges and how they were addressed (e.g. digital transition due to Covid-​19).

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Group presentations (30 minutes)

• Each group presents their findings to the larger group; • Instructor facilitates a discussion, drawing out common themes and unique perspectives. Consolidation and reflection (15 minutes)

• Instructor summarises key takeaways, emphasising the multidimensional impacts of such events; • Reflect on the larger implications for other similar events in different cultural or national contexts; • Discuss how the outcomes from KKNK can be used as a blueprint for planning and evaluating other periodic hallmark events. Conclusion (10 minutes)

• Reiterate the importance of understanding the broader socio-​economic impacts of hallmark events. • Encourage participants to apply their learnings in their respective roles or contexts. • Distribute feedback forms or gather instant feedback for continuous improvement. Notes for the instructor: • Throughout the workshop, refer back to the case study as a real-​world example; • Encourage participants to think critically and share their personal experiences or knowledge; • Ensure that discussions are inclusive and respectful, considering the diverse cultural contexts of participants; • Consider having a guest speaker or expert on hallmark events to provide more insights or answer queries; • By the end of this workshop, participants should have a clear understanding of the multidimensional socio-​economic impacts of hosting periodic hallmark events, using the KKNK as a foundational case study. They should also be equipped with tools and strategies to assess and leverage such impacts in their own contexts. Case

This case study examines the Klein Karoo National Arts Festival (KKNK) –​ where it came from, what it has achieved, the challenges it has faced, and where it might go in the future. We’ll see how the KKNK has been a powerful example

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of Afrikaans culture and a force for unity through artistic expression. We’ll also explore how the festival has boosted local economies and brought people together, making its impact felt beyond just the arts and culture scene. In the realm of hallmark events, the KKNK stands out as a significant periodic attraction. Olivier et al. (2022) define such an event ‘as a major, large-​scale, recurring (usually annual) hallmark festival that attracts tourists from a wide geographical area and enhances the awareness, appeal, and profitability of the festival destination’. A periodic hallmark event (PHE) is further described as a recurring event with international acclaim, intrinsically linked to its hosting locale (Getz and Page, 2016). The KKNK holds a notable position as a hallmark event in South Africa’s cultural landscape. Established in 1995, this festival celebrates the Afrikaans language, showcasing a plethora of art forms. Over the years, it has steadfastly propelled and safeguarded Afrikaans arts and culture. As South Africa ascended from the ashes of a fragmented past, marked by colonial rule and apartheid, a collective yearning for cultural unity arose, embodied in Archbishop Desmond Tutu’s concept of the ‘rainbow children of God’ and the vision of a ‘rainbow nation’ (Hauptfleisch, 2007). This aspiration, as beautifully expressed as it was, faced inherent challenges in a nation of eleven official languages, diverse value systems, and a history seething with turmoil that engendered suspicion and deep wounds (Hauptfleisch, 2007). The idea of a unified ‘nation’ and the process of ‘nation-​building’ had previously been used in South Africa in the arts to harness sociopolitical goals, effectively becoming tools for resistance against apartheid and instrumental in the ‘cultural struggle’ of 1971–​1986 (Hauptfleisch, 2007). The power of performance arts was recognised and utilised to shift perceptions and address injustices. Many times, content and expression were banned. After 1994, the arts were summoned once more in a new ‘cultural struggle’ –​to support the nation’s arduous journey towards reconstruction, reconciliation, and self-​realisation. This struggle saw the whole theatrical system gaining importance as a medium to comprehend and reinterpret the past, grapple with the present, and envision the future, thereby bridging the divides between people and communities. The emergence of a festival culture played a significant role in this evolving landscape, with the KKNK becoming a pivotal embodiment of this trend. However, over the years, the KKNK has been far from a simple unified entity. It has become a complex, poly-​ systemic network of sub-​ festivals, each possessing its own objectives, supporters, processes, and impacts. Despite being conceptually unified by the broad banner of Afrikaans and Afrikaans speakers, the KKNK, in essence, represents a diverse amalgam of potentially competing activities. The festival’s genesis can be traced back to the early 1990s, when Nic Barrow and Andrew Marais, together with a large number of key stakeholders in the host town of Oudtshoorn, began envisioning a town festival. Through extensive deliberation with diverse community stakeholder teams, the idea of a national Afrikaans arts festival emerged. Oudtshoorn was specifically chosen to host the

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festival, a decision inspired by the town’s rich cultural heritage. Additionally, there was a belief that the festival could significantly stimulate economic activity within the town and its surroundings, adding another layer of potential benefit to the venture. The inaugural festival was driven by a small but passionate team, offering a top-​tier artistic programme saturated with a distinct sense of enthusiasm. This creative fervour, along with the unwavering support from the local community, was instrumental in crafting the festival’s launching triumph. The dynamic festival idea rapidly gathered momentum and attained notable success, predominantly due to an extensive and thoughtfully orchestrated media campaign led by the marketing director Dr Lizette Olivier. Influential individuals, including esteemed journalists and creative influencers from Cape Town and Johannesburg, were invited for a thorough media tour of Oudtshoorn, further contributing to the festival’s grand launch. An unforgettable journey, the media tour started with a steam train ride across the challenging yet stunning Outeniqua Mountains from George to Oudtshoorn. This memorable expedition was complemented by instead visits to some of the region’s most noteworthy tourist sites, including the Cango Caves, the Cango Crocodile Ranch and Cheetah Reserve, the renowned Highgate ostrich show farm, and a visit to the farm of famous filmmaker Jans Rautenbach. The experience was further enriched with gourmet food and fine wine, showcasing the region’s culinary strengths. Following this immersive media tour, there was a dramatic surge in media coverage and journalist support. Numerous articles were written, and extensive promotion was carried out by the participating media personalities, further boosting the festival’s visibility and reputation. Following the successful media campaign, major media sponsors such as MNet and Radio Sonder Grense, were enlisted. These sponsors amplified the festival’s presence through their platforms and further contributed to crafting television and radio advertisements in a collaborative effort with a leading South African advertising agency Ogilvy Mather Rightford Searle Tripp and Makin. This multifaceted promotional approach played a vital role in the festival’s initial breakthrough and sustained prominence. Despite the logistical hurdles inherent in hosting a festival of such scale, the inaugural 1995 KKNK was a resounding success. The vast media campaign quickly gained public attention, drawing thousands of festivalgoers to Oudtshoorn to engage with the vibrant spectrum of Afrikaans culture. Programme and Executive Director Karen Meiring (1994–​2007) and Artistic Director Pieter Fourie (1994–​ 1998), ensured a varied line-​up of performances that included theatre, music, visual arts, and literature, thereby spotlighting the diversity and richness inherent in Afrikaans culture. Very soon, the KKNK began to attract international attention, securing performances by globally renowned artists. Notably, Dutch performers Herman van Veen and the avant-​garde theatre troupe Dogtroep were among those invited. As word spread, Oudtshoorn started to see a steady influx of world-​class

Klein Karoo National Arts Festival  33

international artists, transforming this quaint town into a vibrant cultural hub. The attraction of these international performers not only elevated the festival’s profile on the global stage, but it also enriched the cultural exchange and diversity of the performances, further increasing the KKNK’s appeal. The KKNK’s success is rooted in a strong grassroots foundation and in part due to the strong relationship between Pieter Fourie and Dr David Piedt. This relationship, together with the support of Franklin Sonn and his political connections, were instrumental in garnering support from the town’s coloured* community and ensuring an inclusive participation in the festival. Before the inaugural KKNK in 1995, the ‘Voorbrandfees’ held significance as a precursor event, bringing arts and culture to underserved communities. The festival provided an opportunity to showcase authentic Afrikaans art, stories, and plays to neighbouring marginalised communities, exposing many attendees to high-​quality live performances and festivals for the first time. The festival’s debut productions department fostered emerging talent and preserved authentic storytelling, like ‘Kanna hy kô Hystoe’, by Adam Small (1936–​2016), in their original dialects. This approach sought to celebrate and preserve the unique linguistic and cultural heritage of South Africa. In subsequent years, the KKNK continued to grow in scale and significance, attracting larger crowds and gaining recognition as a major platform for Afrikaans artists. However, with growth came challenges. The festival grappled with maintaining its cultural focus whilst expanding to appeal to a broader demographic. There were concerns about the commercialisation of the festival and the potential loss of its unique cultural character. Nevertheless, the festival management remained committed to preserving the festival’s cultural integrity while ensuring its viability and relevance. In 2001, Nelson Mandela’s presence at the KKNK festival was a significant milestone. Globally renowned for his unyielding efforts towards unity and reconciliation, Mandela’s participation underscored his commitment to celebrating South Africa’s cultural diversity. His opening speech, in which he described the festival as part of the ‘African Renaissance’, left a lasting impact and symbolically affirmed Afrikaans culture’s integral place within the nation’s diverse cultural heritage. Mandela’s presence at the festival reinforced the KKNK’s fundamental aim of promoting unity through cultural expression and served as a strong affirmation that Afrikaans culture was an integral part of South Africa’s shared cultural heritage. The message of unity in diversity resonated powerfully with the attendees and heightened the festival’s national standing, bolstering its role as a critical platform for the celebration and promotion of Afrikaans arts and culture.

* Individuals identified as “Coloured,” previously referred to as “Cape Coloured,” are those of mixed heritage, encompassing European and African or Asian ancestries. This classification was officially instituted by the South African government between the years 1950 and 1991 (Britannica, 2023).

34  Lizette Olivier

The festival attendance and ticket sales grew year on year, and by 2004, a record 195,000 theatre tickets were sold. The festival continued to grow under the programme direction of Karen Meiring. By 2008, ticket sales started to plateau, with a further notable decline by 2012, and the KKNK began to experience some stagnation, with attendance numbers plateauing and criticism over repetitive programming. In response, the festival management introduced a series of changes aimed at revitalising the festival. This included diversifying the programme to include contemporary and experimental art forms, introducing more interactive and educational elements, and broadening its outreach to non-​Afrikaans speaking audiences. These changes were largely successful, breathing new life into the festival and driving a surge in attendance. Over the years, the KKNK has also been instrumental in stimulating economic activity in Oudtshoorn and its surroundings. The festival draws significant tourist numbers, which boosts local businesses and creates employment opportunities. Additionally, it has also contributed to the branding of Oudtshoorn as a cultural hub, drawing attention to the town’s other cultural and tourist attractions. The festival’s impact has not been confined to the realm of arts and culture. It has also played a pivotal role in fostering social cohesion and promoting Afrikaans culture in a broader societal context. This has been particularly significant in the context of South Africa’s complex and evolving cultural dynamics. In recent years, the KKNK has faced new challenges, including the rise of digital media, changing audience preferences, and increased competition from other festivals. Yet, it has shown resilience and adaptability, evolving in response to these changes whilst staying true to its cultural roots. As the festival embarks on its third decade, Artistic Director Hugo Theart is optimistic about its future. He notes, ‘The promise is evident as our ticket sales in 2023 surpassed those of 2019, which was the last full-​scale festival before the onset of the pandemic’. The KKNK consistently attracts a large audience from across South Africa, many of whom are returning visitors. Theart elaborates, ‘We have a loyal base; many attendees have joined us for between 20 to 27 festivals. I foresee a bright future’. As South Africa strives to mend its divided past, festivals like the KKNK aim to bridge local and ethnic ties while promoting national unity. The aspiration is to cultivate a vast cultural sphere, where unity flourishes admidst diversity, celebrating differences as integral threads of the broader South African cultural tapestry. The KKNK management remains committed to its mission of promoting Afrikaans arts and culture, while continuously striving to improve the festival experience for all stakeholders, from artists and performers to visitors and local residents. Amidst an ever-​evolving linguistic landscape comprising approximately 54 Afrikaans dialects prevalent in Afrikaans television, drama, and telenovelas, the KKNK stands as a remarkable testament to the enduring vibrancy of Afrikaans culture and the power of the arts to unite and inspire.

Klein Karoo National Arts Festival  35

*Founder Directors of Klein Karoo Nationale Kunstefees: Andrew Marais; Gerrit Geertsema; Jans Rautenbach; Dr Lizette Olivier; Nic Barrow; Pieter Fourie; Rosie Schoeman; Sej Motau; Vincent Abrahams. Advisory Council: Adam Small; Professor Merwe Scholtz. Patron of the arts: Advocate Christo Wiese; Franklin Sonn; Ton Vosloo. References /​Further Reading Britannica. (2023). Coloured, Encyclopedia Britannica. https://www.britannica.com/topic/ Coloured. Accessed Date: 25 October 2023. Comunian, R., Drummond, F., Gross, J., Snowball, J., & Tarentaal, D. (2023). Future Festivals South Africa: Lessons from the Age of Covid-​19, Policy Report, https://​kclp​ ure.kcl.ac.uk/​ws/​port​alfi​les/​por​tal/​199976​118/​Final_​Future_​Festivals_​South_​Af​rica​_​ Pol​icy_​Repo​rt_​3​_​Mar​ch_​.pdf. Access Date: 6 August 2023. Getz, D., & Page, S. J. (2016). Progress and prospects for event tourism research. Tourism Management, 52, 593–​631. https://​doi.org/​10.1016/​j.tour​man.2015.03.007 Hauptfleisch, T. (2007). In search of the rainbow: The Little Karoo National Arts Festival and the search for cultural identity in South Africa. In Festivalising!, 79–​96, Brill. Olivier, L., Carlson, J., Rahman, S. M., & Rosenberger III, P. J. (2022). Measuring tourist festival experience: development and validation of the PHF-​TX model. Journal of Travel Research, 62, 1530–​1549. https://​doi.org/​10.1177/​004728​7522​1129​251

Case 5 STAKEHOLDERS IN CONTENTION LGBTQ+ Mardi Gras Clifford Lewis

Learning objectives

Upon completion of this case, participants will be able to: • identify different stakeholders who have an influence on the organisation of events; • explain the roles different stakeholders play in the organisation of events; and • compare how stakeholders may differ between similar events based on context. Duration

Approximately 90 minutes Target audience

This case study aims to help participants discern the impact of stakeholders on the organisation of events. The case focuses on LGBTQ+​ Pride events (Mardi Gras festivals) across a rural and metropolitan context. This has been done because Pride events are still generally contentious and face differing levels of prejudice between rural and metropolitan contexts and have access to different resources between each. In contrast to metropolitan areas, rural places also have smaller LGBTQ+​communities, and LGBTQ+​people experience greater prejudice based on conservative and heteronormative world views. These challenges force many LGBTQ+​people to hide their sexual orientation and/​or gender identity and disassociate from other LGBTQ+​people.

DOI: 10.4324/9781003390381-5

Stakeholders in contention: LGBTQ+ Mardi Gras  37

In this case study, participants will be required to identify stakeholders and challenges relevant to those stakeholders within each context (rural vs metropolitan), and then compare stakeholders across contexts. The case can be used following an introductory discussion on event organisation to help participants appreciate the complexity inherent in organising events. The case touches on themes relevant to marketing, sponsorship, logistics, and sustainability; therefore, it can set the theme for the rest of the course. The case is designed for a group 10–​20 participants and requires participants to be divided into two groups: those focusing on a rural and those focusing on the metropolitan context. It is relevant for undergraduate (diploma and bachelor’s) and master’s-​level courses. Teaching methods and equipment

The case utilises role-​playing and brainstorming to help students work across two executions of the Mardi Gras events (rural and metropolitan). It is based on positioning participants as event organisers tasked with identifying and working with various stakeholders to ensure the event is successful. These stakeholders may be essential to organise the event (such as local government, relevant service providers, or sponsors), or essential to the event’s success (such as community groups who support or oppose the event). Students may be given access to computers and flip charts/​whiteboards to brainstorm and identify specific stakeholders who may have an impact. Teaching instructions

The following steps are provided to apply this case study. These steps can be adjusted depending on the group size and the instructor’s aim in using this case (that is, to compare across rural and metropolitan or to focus on just one context). The recommended approach requires participants to build a broad understanding of stakeholders and Mardi Gras events (Step 1 and 2), then apply that understanding to the case study (Step 3 to 6). This has been done because of the unique nature of LGBTQ+​Mardi Gras events compared to other community events. Step 1 (15 minutes)

This step encourages participants to reflect on how LGBTQ+​ Mardi Gras events differ from other types of events. This has a direct bearing on identifying and managing stakeholders. Participants should be encouraged to think broadly about Pride events at this stage and reflect on how Pride events differ from other events, including sporting events and other cultural events. The key here is to remind participants that Pride events can be contentious within society, which may prevent stakeholders (like

38  Clifford Lewis

sponsors) from associating with the event. It is also important to note that Pride events have multiple components, like parades, picnics, queer film festivals, dance parties, and marches. For this step, a brainstorming exercise can be conducted where participants are asked to identify and compare Pride events with another event of their choice focusing on: 1. 2. 3. 4.

Who is the target audience for the event? What are the components of the event? What role does the event play in society (its purpose)? What barriers or challenges might the event experience?

The instructor should facilitate this discussion by noting the key themes that emerge on a whiteboard/​flip chart. Step 2 (10 minutes)

This step aims to provide participants with heuristic tools that can help support their thinking as they execute the case. Participants will need an introductory knowledge of frameworks to organise stakeholders. For this purpose, Getz’s (1997) event management systems is recommended to provide a broad framework for identifying relevant stakeholders. Getz’s framework recognises that events are hosted within specific socio-​economic contexts and puts forward four components that must be managed. These components are interdependent and interact with each other. The four components are: 1. The general environment comprises the overall context within which the event is staged; 2. The community context includes the social, cultural, economic, and logistical components of the host destination that can impact both the event and the event attendees’ experience; 3. The internal environment incorporates the working structures needed to deliver the event and includes those who have organised the event and those essential to transforming the event idea into reality; 4. The event is the product and includes components of the event execution that are essential to attract interest and participation. Step 3 (15 minutes)

The aim of this step is to introduce participants to the case study, situate their role within it, and get them to consider what the event is. Participants should be allocated into two groups: the rural and the metropolitan context. Each group is

Stakeholders in contention: LGBTQ+ Mardi Gras  39

then provided with the case study component relevant to that group. The following scenario should be used to introduce the team to the case: You have been appointed to organise next year’s event. As part of that, you need to become familiar with the event and its priorities and identify relevant stakeholders to ensure the event is successful. These stakeholders may include those who are essential to organise the event, those that support the event or those against it. Your task is to identify the various stakeholders and what role they play/​influence they can have on the event. The team should then start by defining the event and its components (component four of Getz’s framework). As part of this process, they will need to reflect on and decide: 1. What is the purpose of the event? Does it focus on attracting tourists, celebrating/​ bringing visibility for LGBTQ+​people, or a mix of the two? 2. What are the components of the event? Does it include a parade, a party, picnics, movie festivals, or marches, or other types of events? The instructor may get students to focus on specific events hosted as part of Mardi Gras or the overall Mardi Gras festival. 3. What is the theme and feel of the event? What theme should the event adopt next year? Should it focus on a political or celebratory theme, or a mix? 4. How is the event positioned within the community? What level of support does the event receive from the local community? And what challenges might they experience within the community? Step 4 (15 minutes)

The aim of this step is to encourage participants to identify stakeholders relevant to the event and define their relation to the event. Once the event is defined, each team should be encouraged to break up to focus on the other three components of Getz’s framework –​ the internal environment, the community context, and the broader general environment. Within each component, the team should be asked to identify and define: 1. 2. 3. 4. 5. 6.

Who are the stakeholders relevant to each component? What influence can they have over the success of the event? How can the event impact them? What is their stance towards the event (supportive or not supportive)? What challenges would they experience supporting the event? How do they need to be managed to ensure the success of the event?

40  Clifford Lewis

Potential stakeholders that are identified may include but are not limited to: Internal environment • • • • • • •

Sponsors Organisations responsible for safety and security Volunteers Food and beverage providers Venue operators Event organisers/​organisation companies/​technical operators/​logistics Event marketing companies

Community context • • • • • • • •

Local LGBTQ+​advocacy organisations Local anti-​LGBTQ+​ organisations Local community groups Local religious groups Local government and police services Local accommodation providers and other tourism infrastructure Local media (newspapers, television, and radio). Local community as participants

General environment • • • • • •

National media National LGBTQ+​advocacy organisations National anti-​LGBTQ+​ organisations National religious groups LGBTQ+​rights, protections, and political discourse Location of the event and connection with transport routes

Step 5 (20 minutes)

The team should come back together and discuss the stakeholders they have identified to ensure they are consistent with other components of Getz’s framework and aligned with the event overall. Different stakeholders become relevant during different parts of the event organisation process. The same stakeholder may also play a different role over the life of the event. Teams should be asked to classify stakeholders based on their relevance before, during, and after the event. For this purpose, teams should be asked to: 1. Classify stakeholders based on their relevance at different stages of the event organisation process (before, during, after);

Stakeholders in contention: LGBTQ+ Mardi Gras  41

2. Identify the role of stakeholders at each stage; 3. Identify any considerations relevant to managing that stakeholder group at each stage. Step 6 (15 minutes)

This final step is designed to bring the teams together to discuss how the stakeholders they have identified across both contexts are similar and different. For this step, the instructor will need to act as a scribe, listing the different stakeholders identified by each group. Participants should first be asked to describe the event –​ based on Step 3 of this process. Thereon the discussion may be divided based on the stage of the event organisation –​that is, considering stakeholders relevant to the internal environment, the community context, and the broader general environment; before, during, and after the event. The discussion should be designed to highlight: 1. Stakeholder groups that are similar or different; 2. The similarity and differences in the role stakeholder groups play by context; and 3. The challenges stakeholder groups may experience across both contexts. In this stage, it will be inevitable that one team identifies stakeholders that the other has not. This may be because that stakeholder is irrelevant, or because they have not considered that group. This discussion should be used to provide the opportunity for the teams to reflect on groups they have missed. Case The Sydney Gay and Lesbian Mardi Gras (SGLMG)

The Sydney Gay and Lesbian Mardi Gras (SGLMG) originated from the 1978 LGBTQ+​ protest movements in Sydney, Australia. Often considered the first Mardi Gras in Australia, the protest marches in 1978 resulted in many lesbian and gay people being jailed and abused. Names of protesters were published in leading local newspapers, resulting in many losing their jobs and livelihoods. The SGLMG has continued since then. Over the years, the SGLMG has evolved from a protest movement to a celebration of LGBTQ+​people and their lives. This celebration does not take away from the political nature of the event, which continues to theme their events focusing on the various challenges and forms of discrimination LGBTQ+​people experience in contemporary Australia. The event is hosted in Sydney and attracts nearly 100,000 domestic and international visitors yearly. Sydney has a thriving community of LGBTQ+​people, with many suburbs becoming popular places for LGBTQ+​people to live and work. Being a large event in Sydney, it attracts sponsorship from some of Australia’s leading brands and local governments in recognition of the event’s economic

42  Clifford Lewis

impact. However, far-​right groups continue to protest against LGBTQ+​rights. This was witnessed during the Mardi Gras celebrations in 2023 where anti-​LGBTQ+​ protests were held during and after the Mardi Gras. The SGLMG is a month-​long festival which includes many events hosted across Sydney. These events target different parts of the LGBTQ+​community acknowledging LGBTQ+​people have diverse lives and interests. The SGLMG kicks off with Fair Day, a family-​friendly park picnic. Other events hosted during the month-​long festival include a Queer Screens event that displays movies created by LGBTQ+​people or those with LGBTQ+​themes, and the Queer Writers event that focuses on LGBTQ+​authors. During this time, there are also various dance parties and drag shows held across the city that attract international DJs, singers, and performers. The SGLMG festival culminates in a parade on Oxford Street –​ which is one of the main thoroughfares in Sydney and cuts through the heart of Sydney’s largest LGBTQ+​neighbourhood. The parade follows the route taken by the first Mardi Gras in 1978 –​and is televised across the country. Crowd control at the parade is crucial to ensure the parade moves smoothly, and attendees are safe. Following the parade, several local clubs, and pubs host after-​parties for attendees to disperse to. The SGLMG has identified the following priorities to support next year’s event: 1. Host more events in the far west of Sydney. This part of Sydney has a high migrant population and is relatively conservative, as demonstrated by the large proportion of people who voted against same-​sex marriage equality in Australia 2016. Most of the SGLMG events are hosted in Sydney’s central districts, which restricts its ability to create social change in other parts of Sydney. 2. Attract greater participation from people of colour and those with disabilities. The SGLMG is currently perceived to focus on/​represent white, able-​bodied Australians. The SGLMG can play a bigger social role by demonstrating the diversity of LGBTQ+​people’s lives. 3. Continue to ensure events hosted by the SGLMG provide a safe environment for LGBTQ+​people. This remains a priority due to growing far-​right movements actively protesting against LGBTQ+​rights. The Wagga Wagga Mardi Gras (WWMG)

The Wagga Wagga Mardi Gras (WWMG) was started in 2019 by a trans woman, Holly, who recognised that LGBTQ+​people were invisible within the local community. While there was some uncertainty about how the WWMG would be accepted within the town, the event attracted 10,000 attendees from the local area in its first year and has continued to grow since then. Though the event was designed to be an annual celebration, it was cancelled in 2020 and 2021 because of Covid-​19. The event attracts limited funding from the local government and is highly dependent on sponsors.

Stakeholders in contention: LGBTQ+ Mardi Gras  43

Wagga Wagga is a small town of approximately 68,000 residents located 460 kilometres away from both Sydney and Melbourne. The town is considered one of Australia’s most religious towns, with most of the residents indicating some affiliation with local churches and religious groups. The town is situated within an agricultural region and is home to a large army base and a regional university. The WWMG is a small three-​day festival designed to be Wagga Wagga’s biggest party. The event commences on Friday with dance parties and drag shows at two of Wagga Wagga’s local clubs. These events typically feature local DJs, singers, and performers. On Saturday, the WWMG parade kicks off in the afternoon, progressing approximately 1.5 kilometres down Bayliss Street –​which is a main road in Wagga Wagga’s town centre. Participants in the parade have strict instructions to ensure their costumes and performances are family-​friendly. Local radio stations help broadcast updates about the parade throughout the evening. The parade culminates in a family-​friendly picnic at Memorial Park with performances from local drag artists and singers and several food trucks for attendees to enjoy. The event ends on Sunday with the Rainbow Markets, with stalls selling locally made handicrafts and produce from local farms. The WWMG has identified the following priorities to support next year’s event: 1. Grow attendance from regional communities and from metro areas. For the event to grow, it is important to attract more visitors from towns around Wagga Wagga, and from cities like Sydney and Melbourne that are within driving distance. 2. Host a greater variety of events to attract the interest of diverse LGBTQ+​ people. The event needs to do more to build a community for LGBTQ+​people. For this purpose, a greater variety of events –​beyond those currently offered –​ is believed to be essential to help build connections between local LGBTQ+​ people. 3. Continue to ensure events hosted by the WWMG provide a safe environment for LGBTQ+​people. This remains a priority because rural LGBTQ+​people still report experiencing prejudice and discrimination at higher levels compared to those in the city. References /​Further Reading Getz D. (1997). Event Management and Event Tourism, Elmsford, New York: Cognizant Communication Corporation. Lockett, O. & Lewis, C. (2022). Not the only gay in the village: Towards the development of a framework for the organization of LGBTQI+​pride events in rural communities. Event Management, 26(3), 629–​645.

Case 6 WE DON’T WANT IT LIKE THAT Gaining Community Support for Event Hosting Lakshi Senevirathna and Made Handijaya Dewantara

Learning objectives

Upon completion of this case, participants will be able to: • evaluate the impact of event hosting on host communities; • recognise the importance of community support for successful event hosting; • understand the importance of engaging hosting communities in event planning; and • improve conflict resolution and negotiation skills. Duration

The time needed to complete the task is approximately 120 minutes over two weeks. The distribution of tasks is as follows: • Phase 1 –​Group discussion and town hall meeting –​60 minutes • Phase 2 –​Group discussion and town hall meeting –​60 minutes Target audience

An essential element of successful event planning is securing host community support. Without the hosting community’s support, events might not succeed as planned. When communities experience negative impacts from an event hosting, they are likely to resist the future occurrence of that event. This case aims to emphasise the significance of host community support for successful event

DOI: 10.4324/9781003390381-6

Gaining community support for event hosting  45

hosting. Organisations should engage the community in event planning to achieve community support and maintain a fair impact distribution. This case intends to cover key topics of managing fair impact distribution and increasing support through community engagement. The case study could be undertaken after a lecture on event impacts. The case is mainly suited to master’s students studying event/​tourism management who have an in-​depth understanding of event impacts, community support and negotiation skills. Undergraduate students in their final years could also undertake the case. The case can be completed at vocational training and professional development classes. Teaching methods and equipment

This case utilises class discussion and role-​playing (town hall meeting) as teaching methods. This requires students to be gathered together into four groups. The ‘event organiser’ group can contain up to 5 students, and the ‘local council’ group should only have 2 students. The ‘residents’ and the ‘local business’ groups need a minimum of 5 students, each with a maximum of 10. The class should be arranged in a circle for the town hall meetings, with a head table for the council group. The circular seating highlights the equal power distribution among all meeting attendees, a critical element to maintain in community engagement. A whiteboard and a marker pen are needed for notetaking. Students should have notepads and pens for notetaking. Teaching instructions

The instructor needs to introduce the case and the task. Students should be divided into four groups: residents, local businesses, event organisers and council representatives. The council representative team should assign the roles of moderator and minute taker among themselves. The moderator should be given a whiteboard and a marker, and the minute taker should be given a notebook and a pen. The case instructions and the organisation should take about 5 minutes. Before the start of the case, the instructor could underline the importance of understanding the host community’s event impacts and managing them (please refer to Gursoy & Kendall (2006) in further readings) Phase 1 Step 1 –​Case introduction and reflective thinking

I. Students should be given 10 minutes to read the case. Following the reading, the class should prepare for the town hall meeting. II. Residents, local businesses, event organisers and the council representative team should discuss the impacts of the last Luville Music Fest in their respective

46  Lakshi Senevirathna and Made Handijaya Dewantara

groups. The residents and local businesses should focus on the adverse event impacts that led them to protest. Event organisers should reflect on their actions and perceived event benefits. Council representatives should reflect on both the positive and the negative impacts of the last Luville Music Fest. Students should be given 10 minutes to discuss. Step 2 –​Town hall meeting commences

III. The purpose of the town hall meeting is to allow the host community to express their concerns about the last event and for the organisers to hear the host community’s perspective on the event. The minute taker should note all the activities of the session. IV. The moderator commences the meeting by welcoming everyone and thanking them for their participation. The moderator should introduce him/​herself and state the meeting’s purpose and agenda. The moderator should apologise to the host community and acknowledge the community’s frustrations about the last year’s negative impacts and the complaints received. This town hall meeting aims to address the community’s concerns about the Luville Music Fest. The meeting is an opportunity for all involved parties to sit together and work out a plan to host a successful Music Fest 2. The goal of the community parties (residents and businesses) should be to maximise the event’s positive outcomes and minimise the negatives. The primary aim of the organiser is to gain event support by working with the community to plan the event. The meeting agenda could consist of: • • • • •

organisers presenting their perceived outcomes; residents presenting their perceived outcomes; local businesses presenting their perceived outcomes; moderator underlining the shortcomings of the last festival; and concluding remarks, including the subsequent actions.

Step 3 –​Discussions begin

V. This step is allocated 30 minutes. This is the discussion between the residents, businesses and the event organiser. The moderator’s role now is to facilitate the discussion. Each group should have a key spokesperson and be given 5 minutes to present their group’s perceived event impacts briefly. Other participants must not judge or object to each party’s perceived event impact presentation. VI. The moderator should use the whiteboard to write each party’s perceived event impacts. Similarly, the minute taker should record all the impacts discussed. The moderator should group the event impacts into similar

Gaining community support for event hosting  47

VII.

VIII.

IX.

X.

categories. For example, if the local businesses talked about the event’s negative impact of lack of opportunity for local economic development and the organisers talked about the event’s positive impact on economic development in the region, these should be categorised under one group of economic impacts. The moderator should pick one impact category at a time and open it for discussion. An organic discussion that allows all parties to highlight their concerns should be encouraged. The moderator’s role is to maintain an environment that promotes open conversations. An equal opportunity to voice opinions is an essential element of community engagement. Following the event impact discussion, the community members should re-​ emphasise their objection to the event’s continuation. Residents and local businesses should highlight the negative event impacts as their reasoning for objection. The organisers should acknowledge the community’s concerns and ensure they would like to work with the host community this year to plan and host the event. Organisers must highlight their promise to work with the community to manage the negative impacts and promote positive impacts. To conclude, the moderator should read the event impacts noted on the whiteboard and underline the areas needing improvement. These could be the negative impacts voiced by the community. To end the meeting, the moderator should thank both parties for their contributions and propose another town hall meeting to discuss the planning for Luville Music Fest 2.

Phase 2

Phase 2, town hall meeting 2, should be conducted in the following workshop. The groups and the seating arrangement should remain the same. The instructor should explain the tasks and highlight the importance of involving the host community in event planning. Step 1 –​Preparation and reflective thinking

XI. Before the meeting, the instructor should ask the community groups to discuss their expected event impacts of Music Fest 2. This should take 15 minutes. Some points for the community to think about include: • Local tickets –​Organisers could provide discounted tickets to locals before the start of the actual ticket sales. This provides social benefits to the community, where they can get together and enjoy the festival. • Employment opportunities –​ Organisers could provide casual employment opportunities for the locals to undertake tasks, such as traffic controllers,

48  Lakshi Senevirathna and Made Handijaya Dewantara

crowd controllers, cleaners and so on, extending economic benefits to the community. • Volunteering opportunities –​Organisers could provide local high schoolers with volunteering opportunities, such as operating information booths. • Improved communication –​ Organisers and the council should maintain a continuous communication channel providing event updates. Some points for local businesses to think about include: • Local sourcing –​Organisers could employ local businesses to fulfil event procurement activities, increasing economic benefits to the community. • Local business promotion –​Organisers could promote the local business to the attendees. For example, the local camping shop could be promoted as the preferred business to rent camping gear. • Tourist stays –​ Organisers should encourage attendees to travel to the town several days before the event to extend the tourist benefits to the community. • Improved communication –​Organisers should continuously communicate with local businesses to plan for attendee requirements. XII. In their groups, the organisers and the council representatives should discuss strategies to control negative impacts and increase community support. Some points to consider: • Happy community –​ Organisers should respect communities’ wishes and attempt to accommodate the community’s needs as best as possible. • Community appreciation –​Organisers should create strategies to appreciate the host community’s contributions, for example, a thank-​you dinner at the end of the event to value the community’s support. • Improved communication –​ Organisers should promise to update the community on any event decisions or important updates. Organisers should provide direct communication channels for the community to contact the organisers to ask questions, provide feedback and express concerns. • Regular check-​ups –​Organisers should regularly check with the community through emails, social media and town hall meetings. This is vital if the organisers want to continue the event. Regular check-​ups can promote trust and build long-​lasting relationships. • Strengthened event rules –​ Organisers should strengthen the rules, such as no street camping or parties outside the camping ground. These rules should be followed with consequences if attendees fail to follow them. • Better rubbish management –​ Organisers should create a plan to manage the rubbish issue.

Gaining community support for event hosting  49

Step 2 –​Town hall meeting commences

XIII. The moderator welcomes everyone to the second town hall meeting, reminds the attendees of the purpose of the meeting and lays out the agenda. The agenda should cover: • minutes reading from the last meeting; • the proposal from event organisers on managing event impacts; and • open discussion/​acceptance/​refusal of the proposal by the community. XIV. The moderator invites the minute taker to read the last meeting’s minutes. Step 3 –​Strategising to leverage the event

XV.

The moderator invites the event organisers to propose plans/​strategies to manage event impacts. Organisers should invite the community to work with them to plan a better event. In order to do this, organisers should call the residents and the local businesses to pitch their expected/​preferred event impacts. XVI. After listening to the organiser’s plans/​ strategies, community groups should be given 5 minutes to discuss their expected impacts. It is important to focus on both the positive impacts the communities want to maximise and the negative impacts the communities want to avoid. XVII. Community groups: residents and local businesses should be given 5 minutes each to present their expected impacts. Similar to the previous town hall meeting, both groups should have a key spokesperson. The moderator should note these points on the whiteboard and the minute taker on the notepad. XVIII. After listening to all the expected event impacts, organisers should take 5 minutes to decide whether to accept all or some. Organisers do not need to accept all the requests from the community. However, if they are unable to accept them, organisers should acknowledge the impact and justify the refusal. An essential element of community engagement is acknowledging and valuing everyone’s viewpoint. XIX. The moderator should open the floor for an open discussion. Organisers should present their strategy. Community groups can raise their hand and provide their comments/​ feedback. This is an opportunity for everyone to contribute to an organic discussion. Negotiating preferred event impacts and discussing strategies to minimise negative impacts should be a natural conversation. The instructor should encourage all parties to contribute to a deep conversation on co-​developing a mutually beneficial event.

50  Lakshi Senevirathna and Made Handijaya Dewantara

XX. Based on the discussion, the community need to decide whether the organisers’ efforts are satisfactory or not to give their support for event hosting. If satisfactory, the community should indicate their support for the second Luville Music Fest. XXI. The moderator should conclude the meeting by highlighting the proposed plan and suggest regular meetings for community consultations and to monitor the progress of the proposed plan. Step 4 –​Concluding remarks

XXII. In the last step, the instructor should invite all the participants to discuss their experiences and learnings. The discussion can include both positive and negative outcomes. Following the student discussion, the instructor can end the case with his/​her observations and conclusions about the activity. The instructor should underline the vital role of the host community in successful event planning. Furthermore, the discussion should highlight the significance of managing event impacts and engaging the locals in event planning. This step can last for 15 minutes. Case Background

Luville is a small regional farming town with a population of 9,800 people with 0.22 persons per square. The nearby national park attracts day visitors and some overnight campers. The tourist infrastructure comprises a few family-​operated motels facilitating short-​ stay and passing-​ by visitors. The town has a local supermarket and two convenience stores. The town’s leading supermarket receives its stock on Tuesday and Thursday nights. Several trucks depart the town throughout the week to transport the farmers’ fresh produce to the pre-​agreed buyers. There is also a pharmacy and a medical centre; the nearest public hospital is 100km away. There are three local bakeries, five cafes and restaurants, all locally owned, and the staff are mainly high school students and residents. There is also one fuel station. To facilitate the camping and hiking tourists that come to the national park, there are two tourist businesses. One business sells and rents camping and hiking gear; the other operates overnight guided hiking tours. The hiking tour company sources its camping ingredients from a local farmer, the local butcher and the supermarket. Usually, after the end of a long hiking tour, the guide brings the hikers to a local restaurant to celebrate the completion. The local community has a way of life where they support each other by buying local and employing local services at every possible time. The local economy has suffered from the Covid-​19 pandemic. Due to the travel restrictions, tourism and camping activities stopped. Farming activities were affected as the demand from the sellers reduced due to people starting their own

Gaining community support for event hosting  51

gardens during the lockdown period. Furthermore, the current inflation rates are impacting the whole community. Everything the community consumes, such as food (except fresh produce), fertiliser, household items and business supplies, all travel a long distance in trucks, and the rise of fuel prices has heavily impacted their bottom line. An event to revitalise the community

To revitalise the local economy and the community, the local council proposed a music event with the help of the state tourism bureau. The council tasked a private event organiser to organise and deliver the event. A two-​day music festival was organised with an estimated 15,000 attendees. The event occurred at the local community ground and offered attendees on-​site camping facilities. The council communicated to its community that a large-​ scale event was happening to boost the local economy and the community spirit. The message encouraged residents to participate in the event, to take the opportunity to boost their business and to enjoy the festive atmosphere. A week before the event date, organisers closed off the community ground and started setting up for the festival. The event

Thousands of cars flocked to the small town of Luville on Thursday evening ahead of the event starting on Friday. The event attendees started stocking up their supplies from the supermarket, the convenience store and the bakery, leaving very little to the residents. After the event

The council received numerous complaints from locals about the music fest’s negative impacts. The event produced a lot of noise pollution, and the attendees continued their parties even after the end of the main festival. These heavily drunk attendees took their parties to the street and played loud music on the streets in front of the resident’s houses. In the morning, residents found smashed glass bottles and food wrappers on the streets. Some attendees who did not want to pay the camping fees slept in their cars parked on the streets. They crowded the public toilets in the town centre. The attendees left their rubbish on the campsite, and the organisers made minimal effort to clean and return the community ground to the pre-​event stage. The local community could not secure any tickets to the event for two main reasons. Firstly, due to the event’s line-​up of famous celebrities, the tickets were sold within 24 hours. Secondly, the ticket prices were not what the community was prepared to pay, and the organisers did not offer any discounts to the locals. Even though the event was aimed at reviving the community, the locals did not get the chance to enjoy the event.

52  Lakshi Senevirathna and Made Handijaya Dewantara

Even though the community knew some details about the event, they were unprepared for an event of this magnitude. Due to the minimal communication from the council and the event organisers, the locals were unprepared to handle a big crowd. The festival attendees cleaned off the supermarket shelves, leaving locals with few products. With the next delivery truck coming to the town on Tuesday, locals had to wait to do their groceries. Furthermore, local tourist businesses, including the camping store, the tour company and accommodation providers, did not get the opportunity to increase any business as the community was not consulted before the event to ask about their expectations. Luville Music Fest 2

The organisers perceived the inaugural Luville Music Fest to be a great success and have started to plan for the second year. The organisers’ event report about the last year’s benefits, including the profits and the large crowd numbers, persuaded the council to grant the organisers permission for this year, despite receiving complaints from the locals last year. The council sent a message to its community to inform the return of the Luville Music Fest. Instantly, the council received numerous messages from the community opposing the music fest due to its adverse impacts the previous year. The organisers came to the town to start planning for Music Fest 2. Upon arrival, some locals, including businesses and residents, protested by blocking the road. The community unitedly said no to the event and emphasised that it did not benefit them but disrupted the community. As the event organisers have already invested in the second festival and have started ticket sales, they now need to work with the community to gain support for the event. To do this, the council has proposed a town hall meeting between the organisers and the locals. Acknowledgment

The authors would like to acknowledge Associate Professor Xin (Cathy) Jin for her constructive comments on developing this case study. References /​Further Reading Gursoy, D., & Kendall, K. W. (2006). Hosting mega-​events: Modeling locals’ support. Annals of Tourism Research, 33(3), 603–​623. https://​doi.org/​10.1016/​j.ann​als.2006.01.005. Jepson, A., Clarke, A., & Ragsdell, G. (2013). Applying the motivation-​opportunity-​ ability (MOA) model to reveal factors that influence inclusive engagement within local community festivals: The case of Utcazene 2012. International Journal of Event and Festival Management, 4(3), 186–​205. https://​doi.org/​10.1108/​IJEFM-​06-​2013-​0011 Ndivo, R. M., & Cantoni, L. (2016). Rethinking local community involvement in tourism development. Annals of Tourism Research, 57, 275–​278. https://​doi.org/​10.1016/​j.ann​ als.2015.11.014

Case 7 A VEGAN FESTIVAL IN A NON-​VEGAN DESTINATION Ebru Günlü Küçükaltan

Learning objectives

Upon completion of the case, participants will be able to: • recognize the importance of an event-​destination fit; • compare and contrast the perspectives of event stakeholders towards different event types; • recognize the ethical issues related to event stakeholder management; and • encourage reflective thinking about event processes, actions, and effects. Duration

20 minutes for Phase 1, 40 minutes for Phase 2. Target audience

The target audience for this case study should ideally be selected from those who are familiar with the vegan ideology and its guiding principles. In Further Readings, a few key references are listed. Participants can be guided to read related concepts from these sources prior to the implementation of the case. The case is applicable to students at both the undergraduate and the graduate level studying tourism and event related programmes. The case is designed for group work.

DOI: 10.4324/9781003390381-7

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Teaching methods and equipment

The case is designed for in-​class implementation with brainstorming/​discussion sessions. Therefore, there is no need for specific equipment other than providing participants with papers and pens to take notes. Flip charts, whiteboards, or computer presentations can be used to summarise discussion findings and share overall results with the class. Teaching instructions

The case study is intended for use in groups of a class size between 16 and 20 students. First, each student will read the case on his/​her own. Following that, they will be divided into groups of 5–​6 students and will be asked to respond to the questions shown below in the first phase. After the students have responded to the case study’s opening questions, the instructor goes over each group’s responses one at a time. The instructor then organizes notes under topics and thematises the discussion’s results in light of its subject matter. At this stage, instructors should try to highlight the following issues: • The festival’s distinctive feature is that it is vegan; • The motivations and expectations of guests who are vegan; and • The connections between the location of the event, visitor happiness, and the visitors’ behavioural goals. At the second stage, all the students will be divided into stakeholder groups, including the organizer (the national vegan association), tourists who are vegans, members of the local community, and the municipality. At least four students should represent each stakeholder group. The justifications and arguments for each stakeholder group’s conduct will be discussed. The instructor will summarize the points made by each group and provide a briefing on event-​destination fit as well as stakeholder management. The issues to be considered at this stage should revolve around the following topics: • • • •

Do and don’ts for Event Planning; The stakeholder approach to society and ethics; The obligation of stakeholders to bring ethics and entrepreneurial aspirations; and How to handle unethical behaviour.

The instructor can refer to the following checklist when assessing an event-​ destination fit: • Accessibility and transportation options to the event venue; • Availability of a local vegan community, which may assist organisers with planning or promotion;

A vegan festival in a non-vegan destination  55

• Suitability of venue options, for example, being vegan-​friendly or willing to cater to vegan needs. Besides the size and layout of the venue, it is important to ensure it can accommodate the festival’s projected activities and facilities; • Availability of local vegan food options and local vegan establishments to offer a diverse range of vegan food for festivalgoers; • Availability and suitability of accommodation options, especially if the festival is a multi-​day event. In this case, vegan-​friendly accommodation establishments, or at least those who are willing to cater to vegan needs are crucial; • Public authorities’ support in promotion and outreach. Public authorities should be helping in promoting the festival through social media, press releases, flyers, and other communication channels to attract a large audience and to create an awareness about the event both for target markets and among the locals. The organizers should feel comfortable with the support of the local authorities. Case Phase I

The number of vegetarians and vegans is quickly increasing in Country X as public awareness of problems like climate change and animal rights rises. While numerous events are planned across the nation for a variety of target audiences, vegan alternatives are severely lacking, especially when it comes to vegans’ sensitivities. As the members of the vegan association, which was created by vegans, also deal with these issues, they talk about the possibility of planning an exclusive gathering for vegans. They begin by picking a location which is convenient, where they can easily find vegan food and drink alternatives, and where they feel there is support for diversity among the local community and administration units. They think that comparatively smaller towns with similar features along the coast would be appropriate given the size of the nation as a whole. They put up a few seaside towns for discussion before settling on Destination X by a wide margin. The location of the destination on a coastline, the variety of herbs and the prominence of vegetables in local cuisine, as well as the potential interest of local, national, and international tourists in the area, are the main factors that influence the selection decision. Once the destination has been chosen, the managers and members of the vegan association schedule a meeting with the municipal representatives and ask for a visit. This visit is intended to introduce the idea of the event to the local government, engage in thought-​provoking conversation, and, if the first event is a success, establish a new tradition in the area. A meeting between association representatives and the mayor and the department in charge of the event is scheduled with the municipality. The need for the event, the advantages and brand-​building of choosing Destination X as the host location, the roles and duties of the parties involved, and the date of the event are all talked about during the discussion.

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The mayor claims that this concept is excellent because Destination X has been looking to organize an event as a festival for quite some time. Moreover, the mayor is confident in the community’s ability to host and welcome a new festival and to accommodate vegan tourists in their town. The parties shake hands and agree that the event will be held the following year during the second week of April under the name of Destination X Vegan Festival. April in particular is selected due to its mild weather, the vacancy of the suitable event venue with both open and indoor spaces under the management of the municipality, and the low number of visitors prior to the peak tourism season starting by mid-​May. Months of planning, every last detail—​including the selection of the keynote speakers, the scheduling of the workshops and conferences, the design of the exhibition space, and so on—​is carried out amicably and in partnership with all stakeholders. The association personnel travel to Destination X a few days prior to the event and with the assistance of the local government, finalise the necessary setup arrangements. The vegan association also manages all event-​ related announcements and public relations initiatives. The two-​day festival is now ready for launch in Destination X. Visitors start arriving in the destination in small numbers by early morning. The majority of them are Destination X inhabitants. The crowds start to grow in the afternoon as more visitors arrive after seeing billboard advertisements on major highways and decide to stop by to experience the event. At the open-​air exhibition corner of the festival, the locals and some invited vegan-​product producers start opening stands to display and sell their goods. With the increase in visitors, more locals request permission to open stands on the first day of the festival, and the municipality personnel allow them to set up stands wherever there is enough space. This last-​minute arrangement complicates the initially prepared exhibition settlement plan and results in a slightly chaotic environment at the exhibition corner. Although there were some local people who set up stands to sell locally produced products such as pickles, dried vegetables, jam, and tomato sauce, the association personnel realise that some of these newly set up stands have products such as milk, dairy, and poultry products, and are contrary to the vegan philosophy. The astonishment of the association members continues when a local farmer comes with his goats to the exhibition corner. The farmer chains the animals to a tree and claims what he is doing does not go against the vegan concept of the festival, as he will only allow visitors to pet animals in return for a small fee. However, it is apparent that he has also goat milk products packaged next to him, and will attempt to sell them to whoever is interested in buying. The members of the vegan association immediately report the situation to their managers responsible for managing the event. In the meantime, both the stand owners of vegan products and vegan visitors start complaining about what they are experiencing at a vegan festival. The association managers ask the municipality personnel to visit the exhibition corner and to solve the problem. Following the

A vegan festival in a non-vegan destination  57

complaints, the municipality officials decide to take a step back and ask those locals who have brought non-​vegan products, to remove their stands and to leave the event site. This causes more conflict, as these locals start complaining about why they are not allowed to be present at an event in their own town. After an hour-​long discussion and attempts to convince these local people to leave the event site, some leave with resentment, while others dismantle their stands but refuse to depart the area. Moreover, some of these individuals open stands right outside the main entrance to the event site. By this time, the members of the vegan association are furious with the management of the municipality for failing to take the required actions and to educate the residents. The incidents occurred in spite of the fact that the potential for such incidents was discussed during pre-​event meetings with the municipality, which assured the association members that they would make certain no non-​vegan actions would be allowed during the event. The association requests an urgent meeting with the mayor, who comes to the event site for the official opening of the festival. After listening to what has happened, the mayor makes comments suggesting that the association has overblown all of these incidents, and that locals should be allowed to benefit from visitor expenditures, especially considering not all visitors may be vegan. According to him, locals selling dairy and poultry products outside the event site is acceptable. Questions

1. Do you believe the requirements at Destination X, where the vegan festival is held, are adequate? If not, what sort of factors should be taken into account when matching a destination with an event? 2. Is it possible for all parties to profit fairly and equally from such activities? What factors should be taken into account to ensure a fair distribution between the parties, if the satisfaction of one stakeholder results in the unhappiness of another? Phase II

Despite the problems on the opening day, the two-​day festival continued and came to a close with both positive and negative experiences. By the end of the first day, all the farmers and sellers of non-​vegan products were convinced to stop selling their products and to respect the concept of the festival. The mayor also promised them another festival to be launched as soon as possible with the theme of locally produced agricultural products. When the feedback gathered from visitors through the event was compared, there was a high degree of satisfaction among those who had not experienced the conflicts of the first day. A day after the event, all stakeholders gathered at the municipality to discuss the lessons learned from the first hosting experience. Since the mayor assured the association that similar incidents would not be repeated in the coming years, all

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the stakeholders agreed to hold the festival in the following year in the hope of transforming it into an annual event. A few months later, the director of the vegan association is horrified by the news she read in a newspaper, which was also broadcast on several radio channels. Under the guise of a traditional festival, Destination X informs the general public about another new festival to be organised: a Camel Wrestling Festival. The festival is organised and sponsored by the municipality. Due to all the agreements and concessions, the mayor’s attempt to establish a brand with the vegan festival was undone by a different festival that vehemently opposed the claimed vegan concept. The vegan association calls the municipality and informs them that they have arbitrarily terminated the agreement since the municipality does not comply with the agreement’s statements. Questions

Each stakeholder groups should consider the following questions for discussion: 1. Is it right for a place to have such an event that will enrage vegans after organizing a festival for them? What are the moral issues? 2. What are your opinions on creating collaborative solution suggestions to ensure that this process is conflict-​free and runs smoothly? References /​Further Reading Bertuzzi, N. (2017). Veganism: lifestyle or political movement: Looking for relations beyond antispeciesism. Relations: Beyond Anthropocentrism, 5(2), 125–​144. Covey, A. (2018). Ethical veganism as protected identity: Constructing a creed under human rights law. In: Quinn, E., Westwood, B. (eds) Thinking Veganism in Literature and Culture. Palgrave Studies in Animals and Literature. Palgrave Macmillan, Cham. https://​ doi.org/​10.1007/​978-​3-​319-​73380-​7_​10 Harding, K., Day, A. (2021). Vegan YouTubers performing ethical beliefs. Religions, 12(7), 1–​13. https://​dx.doi.org/​ 10.3390/​rel12010007 McKeown, P., Dunn, R.A. (2021). A ‘life-​style choice’ or a philosophical belief?: The argument for veganism and vegetarianism to be a protected philosophical belief and the position in England and Wales. Liverpool Law Rev, 42, 207–​241. https://​doi.org/​10.1007/​ s10​991-​020-​09273-​w Wright, L. (2017). Introducing vegan studies, ISLE: Interdisciplinary Studies in Literature and Environment. 24(4), 727–​736. https://​doi.org/​10.1093/​isle/​isx​070

Case 8 PROS AND CONS OF DIASPORA FESTIVALS Ubaldino Sequeira Couto

Learning objectives

Upon completion of the case, participants will be able to: • extensively discuss the issues pertaining to diaspora festivals, particularly from a sociocultural perspective; and • develop critical skills in evaluating diaspora festivals and present sound solutions to address advantages and disadvantages of diaspora festivals in societies. Duration

30–​60 minutes Target audience

The case is designed for advanced-​level and postgraduate students of event studies. Specifically, it delves into the debates pertaining to the role of diaspora festivals in the society. This is suitable as a class activity or can be modified into a project requiring students to complement this with written assessment. It is not intended for junior students with little knowledge of events and their impacts in the wider environment. Teaching methods and equipment

Students should be provided with flip charts and/​or smart/​whiteboards in order to facilitate group discussion and presentation of ideas. Handheld smart devices can be used and students should also be encouraged to use their own devices to enrich their findings during the exercise. DOI: 10.4324/9781003390381-8

60  Ubaldino Sequeira Couto

Teaching instructions

This activity should be conducted after related lectures, such as event impacts. This exercise specifically reflects the role of diaspora festivals in societies. For instance, festivals are known to bring communities together and thought to create a sense of belonging. They are also important opportunities for diaspora communities to maintain and reaffirm home culture. However, the inclusive nature of these festivals in some ways prohibits ethnic cultures from flourishing. For instance, language, food and event programming must cater for the wider clientele at the festival at the expense of maintaining traditions. Rather than purely an academic activity, the course facilitator can contextualise it with real-​life scenarios. For example, diaspora communities may present their contributions to the community when lobbying to the local council for funding or new partnerships, such as in the form of sponsorship being considered in the festival, bringing in funds but at the risk of diluting cultural elements. The activity in itself can be a group discussion, a debate or any other activity as the course facilitator sees fit. The ultimate purpose of the activity is to highlight the pros and cons of diaspora festivals in societies. Step 1

A very good way to begin is to think from the triple bottom line perspectives (impacts): profit (economic), people (sociocultural), and planet (environmental). For each aspect, remind students to consider both the benefits (advantages) and costs (disadvantages) as well as their intertwining nature. For instance, increased spending (economic benefit) could lead to higher prices during the time the festival is held in a destination (sociocultural cost). Table 8.1 may be adapted for use. Step 2

Once students come up with a list of different impacts, that is, the good they bring and the problems they present, challenge students to put them into categories. The reason is that the stakeholders of diaspora festivals, such as the government, residents, corporations and other entities, may not want these benefits and costs TABLE 8.1 Impacts of diaspora festivals: A form to be completed

Profit (economic) Benefits (advantages) Costs (disadvantages)

People (sociocultural)

Planet (environmental)

Pros and cons of diaspora festivals  61

to be grouped under the triple bottom line aspects. One good way to start is to consider the festivalscape elements, which include convenience, staff, information, programme content, facilities, souvenirs and food (Lee et al., 2008). However, over the years, the festivalscape framework has been adopted in many different contexts, so the seven elements above serve as a reference point to begin. Students are encouraged to modify these elements as they see fit. Step 3

The ultimate goal is to create a list of advantages and disadvantages of diaspora festivals to the society. Depending on the desired outcome of the class activity, the next step is to put this list into context. The following is a typical scenario that may take place with regards to the support for or the opposition against diaspora festivals. This is not exhaustive and is intended to inspire the course facilitator to not just use it, but also to adapt it to a specific context suitable and agreeable to the destination and/​or festival. • Small class size –​ two groups of opposing views, that is, one that is supportive and the other that is not. The course facilitator or a student can be selected as the chair. • Large class size –​ multiple groups can be formed to represent different stakeholders and their interests, for example, government (financial resources, urban space and approval authorities), commercial (sponsorships, businesses), residents (the neighbourhood representatives), and diaspora communities (related to the festival and other diasporas). The debate can be held for different purposes. The following is a list of possible scenarios: • • • • • • • •

Should the festival be held in the future? Should the festival reaffirm a stronger diaspora identity? Should the festival enrich a more diverse offering? Should the festival incorporate other cultural groups? Should the festival sponsorship change? Should the festival charge money? Should the festival be geared towards tourists’ expectations? Should the festival receive more support from the government?

Step 4

It is also possible to incorporate the 17 United Nations Sustainable Development Goals (UNSDGs) into the class activity. Students can be challenged to discuss how supporting or opposing a diaspora festival contributes to the UNSDGs, to

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which goal and how. Students can also discuss how to enrich a particular goal by supporting the diaspora festival. For example, Goal 10 aims to reduce inequalities. In some societies, inequality is related to racism which can be caused by ignorance. Ethnic communities hosting festivals can be a good way to introduce their home culture and therefore encourage different cultures to embrace cultural diversity and hence reduce inequality. Case

There are many diaspora festivals to choose from, and it is advisable to select one which is familiar to the students. The following are some suggestions for diaspora festivals worth considering: • Chinese New Year/​Spring Festival celebrations and other events of Chinese origin, for example, Dragonboat races, Mid-​Autumn Festival outside China; • Food and wine festivals; • Diwali and Holi; • Edinburgh Mela, Edinburgh; • Notting Hill Carnival, London. In addition, background reading for an academic perspective on diaspora festivals can be found in Booth (2015). The following is an example of a diaspora festival in Macao, China, for reference. The Lusofonia Festival is held annually to celebrate the 10 different Portuguese-​ speaking communities in Macao, which was a Portuguese colony until 1999. The festival includes country booths showcasing their food and art, Portuguese food, traditional games, and performances such as dances, music and songs. It is a very popular festival among residents as well as tourists visiting Macao who can get a feel for a typical Portuguese feira as well as experience a very different perspective on Macao. At the same time, the Portuguese-​speaking communities see this festival as an important platform to showcase their culture as well as an important meeting point for each other to catch up and rekindle their friendship. As the festival has been held for over two decades, there are considerations for innovating the festival to be more appealing and inclusive of different cultures. The key debate is whether or not to modify the festival elements and the considerations to extend beyond merely a simple decision. For instance, if the festival is to be more inclusive by inviting non-​Portuguese-​speaking communities, how would this festival be ‘Lusofonia’, which literally means lusophone, that is, Portuguese-​ speaking. To rely less on public funding, corporate sponsorships may be introduced, but will this cause issues related to festival ownership? The Lusofonia Festival was initially initiated to celebrate the Portuguese-​speaking communities and their contributions to Macao, but it is also an invaluable tourism resource. In the spirit of inclusivity and of catering to guest needs, will this cause the festival to be

Pros and cons of diaspora festivals  63

less authentic? As importantly, the diaspora communities may slowly lose their ownership and attachment to the festival as an important annual gathering. In many situations, there is no right or wrong answer and the decision cannot be made lightly either. To be more sustainable, these debates and dialogues should be encouraged to balance the needs of different stakeholders but more importantly, to review and set out festival objectives based on a comprehensive overview of festival contributions to make informed decisions. References /​Further Reading Booth, A. (2015). Whose Diwali is it? Diaspora, identity, and festivalization. Tourism Culture and Communication, 3, 215–​226. https://​doi.org/​10.3727/​10983​0415​X144​8303​8034​209 Lee, Y. K., Lee, C. K., Lee, S. K., & Babin, B. J. (2008). Festivalscapes and patrons’ emotions, satisfaction, and loyalty. Journal of Business Research, 61(1), 56–​64. https://​ doi.org/​10.1016/​j.jbus​res.2006.05.009

Case 9 EVENTS, PLACE ACTIVATION AND SUSTAINABILITY Ruth Taylor and Kirsten Holmes

Learning objectives

Upon completing the case, participants will be able to: • identify the criteria for conceptualising creative place activation events in a work integrated learning project; • apply discipline knowledge when developing and implementing event management processes for a live event; • develop research skills when evaluating a live event; and • embed sustainability throughout the event planning, delivery and evaluation process. Duration

Work integrated learning case –​10 weeks Target audience

This case aims to emphasise the principles, process and success criteria when designing, planning, staging and evaluating a non-​ ticketed event to activate place in a limited timeline. It is applicable to all types of tourism, hospitality and event management programmes, especially to those where the focus is on creatively equipping students with managerial skills. The application of the case following learning on event management strategies would support the key phases of designing, planning, staging and evaluating an event. Acknowledging the fundamental rationale for undertaking cases is intended for participants to learn DOI: 10.4324/9781003390381-9

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from the process and ensuing decisions, lecturers are recommended to discuss the key issues and criteria of successful events following the execution of the case. A learning reflection is proposed at the end of the case. The case has been executed by the authors in the context of event planning and the staging of work-​integrated learning (WIL) projects with industry partners, and has proven to be an effective learning tool. The case study considers sustainability at each stage of the event process. This case study is, therefore, designed for advanced undergraduate students, and would also work for Masters by Coursework students with limited previous experience of events management. The execution of the case, in conjunction with the completion of coursework, provides students with background knowledge on event management, conceptualisation, planning, marketing, operations and risk, and evaluation. This application of learning enables students to creatively develop an event concept, plan for implementation, execute the event and finally evaluate the process and outcomes from the perspective of different stakeholders when activating place. The case can be applied to any size cohort. However, it has been successfully implemented with large groups of up to 150 students subdivided into teams. The overall WIL event organisational structure and team compositions will be dependent on the requirements of the WIL partner, the nature of the event and location settings. A creative festival works well where the cohort comprises, for example, 20 teams of six students each who all develop a concept for a creative stall, collectively staging a festival of 20 creative activity stalls to engage their peers on campus. When implementing the case, risk assessments and contingency planning will be a necessity and as such, the teams formed at the beginning of the case session should be informed and respond to any necessary changing roles and activities as determined both internally and externally throughout the duration of the case. Teaching methods and equipment

When executing the case as a live WIL project, students will work with an industry partner. This case study uses a partner sourced on the university campus. This approach has been successful due to the alignment of key department objectives, an understanding of student engagement and capabilities, a common understanding of timelines, the availability of event funding, and logistics in terms of access and equity. In addition to the campus partner, it is beneficial to invite guest speakers in each of the functional areas of event planning such as event marketing, event operations and logistics, event finance and legal, event risk, and event research –​all being available on campus from respective professional departments. The campus/​ industry partner develops an event brief (as per the one provided in this case) and meets with the lecturer prior to finalising the brief to ensure the practical and academic objectives of the WIL project are well designed and capable of

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achievement within the scope of resources for the project. The industry partner (the stakeholder providing the brief and funding) delivers the brief to the students adopting teaching methods as suggested here. The WIL scenario requires the industry partner to provide the ‘place’ on campus to be activated and seek relevant approval for use for the event. They will also need to identify additional facilities (such as supporting infrastructure, e.g. utilities, security) and provide a budget for student teams to purchase supplies as well as knowledge sharing from relevant stakeholders for expertise dependent upon where the case is being implemented. The industry partner will also need to outline which of the United Nations Sustainable Development Goals (SDGs) should be addressed by students. Role-​ play works well for this case where each team simulates an event committee taking on a different role, for example, event coordinator, marketing officer, finance officer, operations manager, risk manager and research officer, to develop their own team’s concept and plan. It also provides scope for additional teaching methods such as brainstorming, scenario analysis, group discussion and class discussion. The only other need is to schedule the classroom activities in a flat-​room venue which supports the arrangement of grouped tables and chairs for team discussion. Although there is no requirement for any other equipment, Post-​it notepads, butcher paper or the use of a collaborative (digital) learning environment enabling the use of, for example, GroupMap, to brainstorm and support breakout teams to develop individual team concepts works well. Teams can be encouraged to utilise a range of delivery modes to develop digital and traditional communication skills including the use of computers, projectors, flip charts and/​or boards during the delivery of the concept presentation. Teaching instructions

The following five consecutive steps are explained here in line with the case being executed with teams of six students (Table 9.1). Any number of teams can be collectively worked with to support the size and scope of the event scenario, with the physical venue size and funding being the usual limitations. Prior to the execution of the case, the lecturer can start with an introduction on the importance of planned event management processes, recognising various stakeholder needs and developing events which address the UN SDGs. SDG 3 Good health and well-​being (reflected in the aim of the event to design an event on campus to activate campus and engage students to support their well-​being), SDG 4 Quality education (via WIL projects), and SDG 12 Responsible consumption and production (applied in the purchasing and consumption of supplies by each team for their stalls) can be applied. It is also worth mentioning during the introduction that this fundamental process is scalable and can be applied to a small local arts

Events, place activation and sustainability  67 TABLE 9.1 Suggested timing for the WIL Project

Event steps

Work-​integrated learning project execution 10 weeks

Step 1: Event conceptualisation

3 weeks

Step 2: Event planning

Step 3: Event staging Step 4: Event evaluation Step 5: Reflection

Wk 1 –​brief, brainstorm, develop teams, draft list of event concepts Wk 2 –​develop concepts and prepare Pecha Kucha (PK) presentations Wk 3 –​present PK concepts, gain feedback and approval from industry partner 4 weeks Wk 4 –​draft outline of event plan, seek approvals and consultation, write background Wk 5 –​marketing, financial, operations plans Wk 6 –​risk assessment, safety and security Wk 7 –​event evaluation plan, finalization of event plan ‘event day’ (set-​up, stage, shutdown of event) 2 weeks Wk 8 –​execute evaluation plan Wk 9 –​analyse findings 1 week Wk 10 –​complete learning reflection

festival or with the elaboration of these same processes for a mega event such as an Olympic Games. Step 1: Event conceptualisation

The event industry partner (in this case, the place activation department on campus) is invited to deliver the WIL project event brief to the class. The brief should contain but not be limited to the following: purpose and background of the industry partner, and organisation, WIL and event objectives, resources, timelines and any limitations. The provision of examples of previous successful events enhances students’ learning and provides a basis for brainstorming activities. After the event briefing, a brainstorming session is undertaken with the whole group of students. Following the brainstorming session and the shortlisting of ideas and/​or selection of key concepts, students may choose their team based on a preferred concept, or are randomly assigned to a team. Six members per group tend to work well as a successful team. Once teams are formed, they commence developing their chosen brainstormed idea into an event concept, addressing the criteria provided in the event brief. Teams need to decide which students will take on the functional roles of the team’s event management committee –​for example, event coordinator, marketing officer, finance officer, operations manager, risk manager, research officer. This selection process should lead the team to discuss the qualities and characteristics of the

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functional areas for events and commitments and expectations from the student accepting each role. This process can take on a role-​play scenario. It is significant in terms of responsibility and accountability in this WIL project when teams may be financially responsible for funds provided by the event industry partner or be in legal and regulatory compliance when working in the event risk manager role. The final concept works well being delivered to class peers, teaching staff and industry partner in the form of a Pecha Kucha presentation. This engaging visual presentation format used by teams to pitch their concepts assists in the visualisation of the event while also providing the development of presentation skills, a more focused message and teamwork development through active presentation practice (Anderson and Williams, 2013). Presentation time should include time for teams to present (Pecha Kucha presentation =​ 6 minutes 40 seconds per team presentation) plus sufficient time for feedback and approval from peers, teaching staff and/​or industry partner. The presentation should also outline how the concept will address the relevant SDGs. Finally, a discussion to synchronise all teams’ concepts into one themed event should be undertaken by the collective group. Step 2: Event planning

Upon approval of each team’s concept, teams are tasked with the development of their concept into a written event plan. The plan may include (but is not limited to) the following: introduction, background (application of prior learning in events, organizational approach and alignment with partner’s strategy), marketing, operations, finance, risk, and evaluation, including plans, working documents, approvals and checklists as required for the event. The background section can be used to support the demonstration of application of theoretical learning in the event plan, for example, explain the 5Ws (Goldblatt), WOW factor, organisational outline (from industry website), and alignment of strategy (e.g. sustainability strategy and goals). It is very useful to support the application of theoretical learning by inviting guest speakers from each of the functional areas of the event plan to the class to provide discussion/​consultation, Q&A, and support the teams when developing their plans. Most WIL projects will require the plans to be approved by the industry partner and associated departments. For example, the risk assessment will need to be approved and lodged with the relevant department. Teams are provided with a budget. They will need to set up accounting software such as Concur for receipt of monies transferred from the industry partner, purchasing payments for supplies, dispersal, and acquittal of funds after completion of the event. The industry partner’s organisational sustainability strategy requires due consideration and implementation in the concept design, planning and staging of the event, along with the relevant SDGs that the event seeks to address. If there is an absence of an established sustainability strategy within the hosting organisation, then this is an opportunity for students to show leadership and to introduce and develop event sustainability practices.

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Step 3: Event staging

In this step, the teams stage the event. Teams are responsible for the implementation, monitoring and control of activities on event day. Activities include the set-​up, operations and logistics, and shutdown of the event according to the event plan, campus processes, procedures, policy and health and safety requirements. In this stage, students demonstrate time management skills, staffing, customer service, crowd management, aesthetic and operational implementation in the event design and plan, staging and operations of their individual concept while being aware of and responsive to the needs of the event as a whole. Sustainability is a key criterion for the implementation of the event. Teams need to justify the use of unsustainable materials such as single-​use plastics and balloons and address the needs of the organisation as well as local municipality/​shire regulations. Due to logistics, the industry partner may assist with major infrastructure provision such as utilities, marquees and furniture such as tiki bars, trestle tables and stools, generators and food trucks. The supplies for individual group activities are the responsibility of each team and need to be budgeted for accordingly. Step 4: Event evaluation

The event has been successfully planned and implemented, the place activation team (or other industry partner) is very satisfied with the event outcomes; however, in the post-​event discussions with the students, place activation asks how they should go about undertaking an evaluation of the event. Students have studied evaluation and research approaches, so each group should be able to develop an event evaluation process outlining how the event could be evaluated in terms of achieving its objectives, sustainability goals and value. Implementation of evaluation could take place if time and resources permit. This additional step of the case would involve students discussing relevant stakeholders to evaluate, the research questions, methodology, ethics approval, analysis, production of results and how communication to relevant stakeholders would take place. Both positive and negative assessments should be raised, and all students should be encouraged to contribute to the discussion. Some examples of evaluation could include lecturer and place activation/​industry partner assessment of the staging of the event on the day, and peers assessing other team members in terms of group work contributions. Step 5: Self-​reflection

Self-​reflection of learning is a form of evaluation. Gibbs (1988) developed a reflective learning cycle including the role of feelings. This is a useful tool to apply in self-​reflection when assessing event WIL projects. A range of relevant stakeholders’ views are included (industry partner’s objectives, event visitors (students and staff on campus), other university departments) and an overall event evaluation of activities.

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Some of the key issues that can be utilised by the lecturer to conclude the case study include the following: • Organisations need to clearly articulate their needs to event managers when providing briefs for the development of events to successfully plan and stage events, demonstrate alignment with the organisation’s strategy, and develop strong trust-​based relationships; • Planning and organising events requires a team effort of specialised functional skills, leadership, time management and communication skills; • Organisations should pay attention to detail in all activities, with constant monitoring and controls, risk assessment and contingency planning; • Necessary changes to plans throughout the planning and staging of events should be clearly communicated to relevant stakeholders and documented; • The magnitude and scope of any change would assist organisations in assigning different experts and professionals to support the event management team for diverse requirements; • Ways in which sustainability issues and the SDGs can be embedded in the event planning and staging process, and the challenges in achieving this should be considered. Case Building the organisation context

Innovatus University is a large global university which has grown sustainably to be located on four continents comprising eight unique campus locations. Its main campus, centrally positioned in an Australian capital city, brings together research, business and creative knowledge, and innovation in a vibrant urban knowledge hub. Physically, the campus comprises a variety of modern architecturally designed facilities situated among beautifully landscaped gardens covering an area of nearly 150 hectares that supports a multicultural student population of 40,000+​students and 4,000+​staff. The campus is located in a wider suburban technology precinct surrounded by research institutions, innovation incubators, health facilities, and government and private sector organisations supported by office, retail, transport and accommodation infrastructure. The university has a strong sustainability focus as a key pillar in their strategic plan, with this commitment evident throughout the learning and teaching, research and physical facilities, and environment. Their sustainability programme addresses the SDGs and is demonstrated in memberships such as Principles for Responsible Management Education (PRME). The following three SDGs are required to be demonstrated in the design and implementation of this event: SDG 3 Good health and well-​being, SDG 4 Quality education and SDG 12 Responsible consumption and production.

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The university’s main campus attracts international students from 100+​countries along with local urban, rural and remote domestic students. The traditional perception of university campus life as one of discussing the meaning of life and waxing lyrically in the library coffee shop or tavern has been eroded with the pressures of life, costs of living and work commitments, with many students rushing onto campus for classes and leaving as soon as class is finished. This atomising of student cohesion and collective culture is a concerning trend across universities globally. Being cognisant of student and staff well-​being and recognising that Innovatus is more than just a place to study, the university is developing creative programmes and places to immerse oneself, inspire and connect. Developing an understanding of communities on and around campus –​ their needs, aspirations and what they desire in a place –​ was examined by the place activation team to develop an activation programme to bring people together to stay longer on campus, and creatively increase their interaction and social connections. A vibrant, diverse, multicultural campus provides opportunities to participate, innovate and connect both professionally and socially. Some of the considerations for place activation planning include encouraging the creative use of both indoor and outdoor spaces for activities to support well-​being and in the process, developing a sense of belonging, community and development of social places, thus enabling a more holistic approach to learning through the natural environment, arts, culture, heritage and social interactions through a diverse range of activities for a diverse cohort of students, staff and local community. Static activities may range from art installations or spectating sports to the dynamism of walking garden trails and gardening workshops, craft at the craft cube, First Nations knowledge sharing at the yarning circle, or food trucks along the promenades. Another area of increasing demand for activation is the staging of events. The place activation team is now running up to 150 events across the year, the vast majority being free events aiming to develop and promote sustainable campus activations to secure benefits for the university and its students, staff and surrounding community. A further objective of the place activation team is to instigate WIL projects with in-​curriculum activities with students on campus. With this being the catalyst for creative development of projects for students by students, the place activation team brainstormed, with the outcome of designing and funding a WIL project with the event management students focusing on student creativity. Understanding the stakeholder needs and developing the concept

To address the needs of stakeholders and meet the objectives of university place activation, an environmental scan of current activities on campus was undertaken. An outcome of this process resulted in the preparation of an event brief which was presented to the event management students to address in five stages, remembering

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at each stage that place activation’s remit is student/​staff engagement and the activation of campus sustainably. In briefing the student cohort, the place activation representative tasked the students with conceptualising the event and presenting this for approval to the place activation team. Upon approval, students were required to write an event plan, implement the plan by staging the event on campus, and finally develop an event evaluation. In addition to the background information provided in the brief, consideration of Goldblatt’s 5Ws (2011) assists in establishing the date, day, duration, timing, venue, stakeholders, location, event concept and rationale. Additionally, a consideration for a strong WOW factor is prompted to assist in the promotion of the event. Planning and staging the event

Upon the successful presentation of concepts to peers and the place activation team for review and approval, due authorisation and funding from the university is secured. Place activation now tasks the student teams with the development of their event concept into a written event plan to support the staging of each team’s activities for the event. Discussions regarding budgets, location, venue, site, size, the alignment of goals, the establishment of operations, supplies, logistics, marketing and communication of activities, risk assessment and contingency plans need to be considered within the context of existing organisational requirements, and local government regulations for the staging of events are underway. Two weeks into the planning, the campus marketing manager attends the team discussions to provide information regarding the university’s marketing criteria. Three weeks into planning, the senior director of risk, safety and health visits the class and speaks collectively and then with each group to discuss their plans and provide relevant context and advice for event risk assessments. Evaluating the event

The director of place activation will hold a debrief session with the place activation team, learning and teaching staff, event management students, student representatives, risk director, marketing manager and department business manager after the event. Prepare an event evaluation in the form of a visualisation to support the evaluation session and to provide answers to any potential questions. References /​Further Reading Anderson, J.S. & Williams, S.K. (2013). Pecha Kucha for lean and sticky presentations in business classes. Journal of the Academy of Business Education. Fall, 96–​109.

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Getz, D. & Page, S. (2020). Event Studies: Theory, Research and Policy for Planned Events. (4th ed.) London: Butterworth Heinemann. Gibbs, G. (1988). Learning by Doing: A Guide to Teaching and Learning Methods. Oxford: Further Education Unit, Oxford Polytechnic. Goldblatt, J. (2011). Special Events: A New Generation and The Next Frontier. 6th ed. New York: Wiley.

Case 10 PUTTING THE 5WS INTO CONTEXT Organising Course Live Events Ubaldino Sequeira Couto

Learning objectives

Upon completion of the case, participants will be able to: • apply in context how the 5Ws are implemented in event planning; • identify the interdependent nature of principal components in event planning; and • develop skills to critically evaluate and present a sound event concept. Duration

90–​120 minutes Target audience

The case is designed for students of any event planning course based on a project management perspective, particularly those requiring students to host live course events. The answers to the 5Ws (Who, What? When? Where? Why?) are crucial in the early planning stages of the event and critical to the success of different implementation plans as the event is being run. This case is suitable for intermediate-​level courses as an extended class activity to contextualise lectures on event conceptualisation and the 5Ws, as well as an invaluable exercise for students to brainstorm and come up with a feasible event concept if they are required to organise a live event as part of the course requirements. The case is suitable for different class sizes which should be commensurate to the scale and scope of the course event required. The class should be divided into teams of 5 and should consist of students of diverse backgrounds and capabilities, DOI: 10.4324/9781003390381-10

Putting the 5Ws into context  75

preferably with contrasting views and perspectives. This will encourage dialogue and opposing standpoints, which are important for critical discussions and negotiations. Each team must cover all the 5Ws to realise the intertwined nature of these elements in event planning. Teaching methods and equipment

The teams should ideally sit in a circle to promote discussion and equality without any hint or suggestion of superiority. Just like in real-​world brainstorming sessions, students should have a pen and paper. If not, a smart device is much more preferred to enable internet browsing and the sharing of digital information. Students can be provided with flip charts and/​or smart/​whiteboards in order to facilitate group discussion and brainstorming of ideas. Teaching instructions

This activity can be done before or after the lecture on event conceptualisation, particularly covering the 5Ws. However, it is advised this is completed as a post-​ lecture activity since students can incorporate the theory into practice and come up with a more concrete and realistic outcome. The following steps are suggested but dynamic, in that they can be shuffled to best fit the flow of discussion and the capabilities of the students. It is based around the concept of experiential learning theory, which suggests students make progressive improvements by experimenting. As students cannot be doing events again and again, feedback by the course facilitator is therefore extremely important. The role of the instructor as a facilitator extends beyond a teacher–​learner relationship but is crucial to maintain rapport, trust and communication. Step 1

Students should be reminded about the 5Ws and their role in event conceptualisation. The course facilitator may also reinstate its use to provide a preliminary analysis of how likely the event idea can proceed further in the planning process and how these elements influence other considerations during the implementation stage, such as marketing, human resources and financial planning. The class can be divided into groups of 5 and should be physically arranged in a meeting-​style setting whenever possible. If this activity is conducted online, students should be arranged in breakout rooms. Step 2

Students are given the outline of the event they are required to host, which varies according to course level, programme requirements, university expectations

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and so on. The case in the section that follows presents a typical scenario which students of the Bachelor of Science degree in Tourism Event Management at the Macao Institute for Tourism Studies are required to undertake. It can be used as a reference in the event that a live course event is not part of the requirement and that students are able to contextualise an imaginary event for the exercise. The course facilitator is advised against providing too much input into the event particulars as the more details provided, the more limited the scope students are able to elaborate on. Step 3

Students within teams are likely to focus on one of the W questions. The course facilitator should encourage teammates to think of the answers holistically. For example, a student may suggest a winter market (what?) by inviting local craftsmen and farmers (who?) to sell their artisan food and products at the university campus (where?). However, the location of the event may not be suitable if the primary event attendees are expected to be families looking to spending a day there with limited car parking and often reduced public bus services during non-​term time. To address this concern, a counterproposal might be to hold the event elsewhere at the city centre location. Costs and permits aside, the event suggested may fall into an event category typically not expected to be held by students (what?). This potentially creates further implications; for instance, marketing (positioning of the event?) and finances (ability to break even or to earn a profit?). Step 4

The discussion ideally should progress by sharpening the event concept through a holistic consideration of all W questions. For instance, a small-​scale event on campus such as a charity sale of old books would suffice, but may not necessarily be attractive for sponsorship investment in the event. Therefore, it is important to encourage students to critique others but to provide constructive feedback and suggestions. The following is an example of an event organised by past students after lengthy discussion that all the 5Ws are addressed and correspond to each other. Blind dinner event

Objective: To raise funds for a charity through an event experience about health awareness What –​An event where guests were blindfolded to enjoy a 4-​course meal. There were also other activities and games throughout the event which guests had to complete with their eyes covered. Ideally, the event was to be held in a dark room

Putting the 5Ws into context  77

with waiters and staff wearing night-​vision glasses. However, a suitable venue could not be found and the costs of the equipment was astronomical. Why –​The event was primarily targeted to raise funds by increasing awareness of one’s health. However, given the wide variety of focuses, after numerous debates and considerations, eye health was selected as it married well with other critical event components, such as charity beneficiary, the way the event was operationalised and so on. Initially, the selected health problem by the students was cataracts, as the charity was considered not known for its efforts on this specific condition. However, it was later decided not to pursue that direction because it would incur unnecessary costs for the charity to provide single-​use glasses to mimic cataract conditions. In addition, a blindfold was thought to be more secure to ensure the eye problem effect and customers were less likely to remove it during the event. Who –​ Guests who were able to afford a ticket for the blind dinner. The event team limited the sales to those over 18 years only. The age limit was to ensure guests could take care of themselves and could be held accountable to their own liability; an alcoholic drink was included in the ticket so only adult guests were eligible to buy. Where –​Educational Restaurant, a campus facility. This was determined as the most preferential venue as the event team could block off the whole restaurant. More importantly, the team could design a menu most suitable for a blind dinner event, meet the food allergies and diet requirements of the guests, and ensure the insurance covered the event to minimise costs. When –​ Weekend evening. The day and time were not critical aspects for consideration, although the team had preferred a more auspicious date, such as World Vision Day, but the event had to be held at the end of the semester to coincide with the teaching and assessment timetable. Dinner was selected because this allowed time during the day for students to prepare the restaurant, food and other items necessary. Case

Students are required to conceptualise, plan, implement, manage and evaluate a public live event at the end of the semester. The event must not contain themes which are obscene or inappropriate. Finances must break even; students must look for sponsorship to support the event. It should be a single event that lasts a couple of hours, but can be flexible depending on theme, event concept and actual operations. References /​Further Reading Couto, U.S. (2023). Challenges of organizing course live events during the covid-​19 pandemic. Event Management, 27, 51–​68. https://​doi.org/​10.3727/​15259​9522​X164​1994​ 8694​928

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Kolb, D. A. (1984). Experiential Learning: Experience as The Source of Learning and Development. Englewood Cliffs, NJ: Prentice Hall. Kolb, A. Y., Kolb, D. A., Passarelli, A., & Sharma, G. (2014). On Becoming an Experiential Educator: The Educator Role Profile. Simulation & Gaming, 45(2), 204–​234. https://​doi. org/​10.1177/​10468​7811​4534​383

Case 11 A DIAGNOSTIC FRAMEWORK FOR ENTREPRENEURIAL CHANGE AND INNOVATION IN EVENTS Richard Shipway, Simon Mosey and Chris Symons

Learning objectives

Upon completing the case, participants will be able to: • identify the importance of entrepreneurship and innovation for the events industry; • evaluate the current capabilities and entrepreneurial mindset of events organisations and their employees; • explain how events organisations can innovate through both ‘adding value’ and ‘doing things differently’ within the events industry; • assess the role of digitalisation and the broader importance of technology for the events industry; and • identify a range of key event communities and event ecosystems that can support innovation and facilitate entrepreneurial practices within the industry. Duration

Between 60 and 90 minutes each week, over the duration of a semester. The case study is designed to be delivered over the duration of a semester (approximately 12–​13 weeks). There are six steps for this case study, and students will be expected to complete one task fortnightly, to fulfil each step. The intervening week should be spent exploring the underlying entrepreneurship and innovation concepts, and background reading. Students are encouraged to move beyond the event and leisure literature and investigate studies and sources from business and management disciplines. It will take approximately 90 minutes to complete each

DOI: 10.4324/9781003390381-11

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‘step’, and in addition students should spend approximately 90 minutes reading in between each phase of implementation. This will culminate in the completion of a ‘diagnostic framework for entrepreneurial change and innovation’ for an events organisation of their choice. In sum, student time should be equally split fortnightly between (a) completing a step of the diagnostic tool, and (b) background reading on underlying concepts, which underpin that step, over a 12-​week period. The final week should culminate in a 20-​minute in-​class presentation explaining their completed diagnostic framework for events. Target audience

Students should have a basic understanding of the importance of entrepreneurship and innovation in a business or management context, and then apply that knowledge within the events industry. This experience could stem from modules studied as part of an events management, events innovation or events-​related degree programme. Given these prerequisites, this case is best suited for a final year bachelor’s module or master’s-​level module. It is also relevant for students on vocational training within the events industry. The diagnostic framework tool, which forms the central part of this case, can be completed on either an individual basis, or as a part of group work. If completed as group work, the timeline for completion can be adjusted, and it is recommended that students are then allocated ‘steps’ to complete within their group. Students are expected to undertake background reading on concepts including strategy, culture, external stakeholders, communities and ecosystems, as relating to their chosen events organisation. There is also an expectation they become familiar with concepts that will impact events organisations as they strive to overcome innovation challenges in the events industry. These include, but are not limited to, digitalisation, research and development (R&D), diversification, sustainability and extendibility (Shipway, Mosey and Symons, 2023). Knowledge of these concepts, gained through reading wider business and management literature, will help the student populate their own diagnostic framework for entrepreneurial change and innovation in events, and gain a better understanding of how to stimulate entrepreneurial behaviours and innovative practices for the events industry. Teaching methods and equipment

The case study is based around the application of a diagnostic framework tool in an events context. The framework seeks to diagnose the entrepreneurial practices of an events organisation and suggest appropriate actions to make the whole organisation more entrepreneurial in character and improve its innovation outcomes. A template for the case study is provided in Table 11.1, and students should gradually populate aspects of the table where applicable to their chosen event organisation. Given the nature of the chosen events organisation, not all rows and columns of the table will

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necessarily be populated. This template can serve as the main point of reference and guidance. However, to populate many of the rows and columns of the table, students must have a basic understanding of underlying business concepts (such as ecosystems, communities, external stakeholders, strategy, culture) and how they apply to entrepreneurship and innovation. Therefore, on alternative weeks students should spend 90 minutes completing background reading from the broader disciplines of business and management studies, which will enable them to complete each ‘step’. Without this underpinning and research, it will be challenging to populate some parts of the diagnostic framework tool. Teaching instructions

The main purpose and outcome of this case study is to explore two key questions: (i) How do you build an entrepreneurial and innovative events organisation? (ii) Can you introduce an entrepreneurial change programme to address some of the challenges facing events organisations? Students begin the task selecting an event, or an event-​related organisation of their choice and progressing through the six steps of the diagnostic framework. The chosen event can vary in size and scale from a local community-​based arts festival or annually recurring national cultural event to a mega sport event-​governing federation like the Fédération Internationale de Football Association (FIFA), the Fédération Internationale de l’Automobile, or the International Olympic Committee, to name but three event-​related examples. There is scope to select either an event organisation, festival, event company, event federation/​institute, or broader event or festival management stakeholders. The key task is to apply the diagnostic tool to assess the need for entrepreneurial change. Depending on time available, the case can be completed on either an individual or a group basis. We suggest that students use Table 11.1 to diagnose the entrepreneurial practices of their chosen events organisation and suggest appropriate actions to make the whole organisation more entrepreneurial in character and build the capability to address innovation challenges. As highlighted, not all rows and columns will necessarily be populated, and this will vary between event organisations, depending on size, scale and complexity. In addition to each of the six proposed steps, students should also consider columns one to five and complete the following tasks. Column one –​Diagnosing Current Practices: Provide answers to questions from each row in turn to reveal the existing provision of key elements of entrepreneurial practice. It is recommended that practices deployed over the previous five years be captured here so that the relationship between practices and innovation outcomes can be established. The expectation is that several areas will be highlighted where current practices are not capable of addressing future innovation challenges facing the events industry.

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Columns two, three and four –​Opportunities: Where there are shortfalls between current practices and desired innovation outcomes, then potential new approaches can be explored using columns two, three and four. Examples from other events or non-​events-​based organisations facing analogous shortfalls may be used. As a first step, populate the boxes in the next three columns with a short description of a possible response. Not all boxes need be filled, whilst some boxes will contain multiple options and solutions. Column five–​Decisions: For each question, students should go back across the columns and compare the options and possible solutions. The comparison criteria will vary from one events organisation to another based on suitability, practicality, effectiveness and so on. However, they should reflect a return on investment, and a central tenet of is it worth doing? Students should then choose the most appropriate course of action and delegate responsibilities by detailing (i) what needs to be done, (ii) by whom and (iii) when. The responses in the columns are constituents of an entrepreneurial change management programme for events. There are six steps to executing this case study, represented by questions one to six. Students should complete each step, and this will culminate in their own unique entrepreneurial change programme. Aligned with the ‘six steps’, we suggest that students start by asking the following six questions as they apply to their chosen events organisation. Six Steps to Success for Innovative and Entrepreneurial Events Organisations 1. Can existing capabilities add customer value through an appropriate combination of skills and technologies in the events industry? 2. How do you recruit people to address diversification, sustainability and extendability issues for events? 3. How do you motivate people to overcome inappropriate bureaucracy within the events industry? 4. How do you empower people to identify and address innovation challenges for events organisations? 5. How do you add customer value within distinct and unique events communities? 6. How do you add customer value within events ecosystems? Case

Innovation in the events industry has become a vital component for organisations to gain competitive advantage. The case will culminate in the development of a diagnostic framework in entrepreneurship and innovation for consideration by organisations and enterprises working in the events industry. Each ‘step’ will begin with a key question(s) that will help inform the diagnostic tool and help to better signpost the student. The dual business and management concepts of Strategy and Culture will feature significantly in background reading, and significant prior preparation will be required to populate elements of the diagnostic tool. Additionally, students are

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advised to explore two other concepts, as applicable to the events industry, which are events communities and events ecosystems. Finally, students are encouraged to consider the broader societal innovation challenges that will affect the events industry. A working knowledge of these five areas below will help students when developing their own diagnostic framework. Entrepreneurial strategy for events

Students will explore the entrepreneurial view of strategy for the events industry. They can be signposted to business and management-​oriented frameworks that will help explain the creation of new events-​based products, services, processes and business models. They can consider the core competencies of events organisations and possibilities for extending them. Following this, student discussions could investigate different approaches and strategies, and opportunities for paradigm shifts for events. In doing so, they will consider what capabilities an organisation operating within the events industry has for entrepreneurship and whether it can extend or change those capabilities. This will help students to address the key question –​ can existing capabilities deliver appropriate types of innovation in the events industry? In relation to entrepreneurial strategy, and notably the central importance of technology for the events industry, students are encouraged to explore their chosen events organisations and contemplate some of the following questions on adding customer value through a combination of skills and technologies to address future events innovation challenges through: (i) addressing the increasing importance of digitalisation for the events industry; (ii) leveraging digitalisation for events; and (iii) capitalising on the unique selling points (USPs) of events. The scope for coverage within the events industry is diverse. If the student choice is a sport-​related event or organisation, examples might include the expansion of the 2026 FIFA tournament to forty-​eight teams, and hosted across three countries (USA, Mexico and Canada). Alternatively, for an art and cultural event, it could include enhancements in their digital offering, or other aspects of digitalisation linked to online booking procedures to improve the customer experience and provide a seamless journey through the event or festival experience. For the chosen event organisation, it might also incorporate greater use of virtual reality, augmented reality or alternative forms of artificial intelligence (AI). Entrepreneurial culture for events

This case study also explores how events organisations can create and sustain an entrepreneurial culture to identify and address innovation challenges. Students are encouraged to consider (i) organisational structure, (ii) entrepreneurial processes,

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(iii) people, and (iv) leadership, and explore how they interact within the events industry. The background reading for this case should focus attention on addressing three key areas of relevance for completing the diagnostic framework, which are: (i) How do you recruit people for entrepreneurship? (ii) How do you motivate people to overcome inappropriate bureaucracy in the industry? (iii) How do you empower people to identify and address innovation challenges? These three cultural aspects align with rows 2, 3 and 4 in Table 11.1. This is not an exhaustive list of cultural challenges for events, and only some may be applicable to the chosen events organisation. The events industry is unique in that it comprises a significant experiential component. Events organisations are interlinked and interrelated by people, processes and structures, and by working together, it is possible to influence the organisational culture, and how events organisations will approach innovation. It is important for students to diagnose the entrepreneurial culture of their chosen events organisation. In the context of entrepreneurial strategy, the importance of digitalisation and R&D is evident. In the context of entrepreneurial culture, students should consider the following areas when populating their diagnostic tool. These are how you can recruit, motivate and empower people working in the events industry to address three innovation challenges of: (i) diversification; (ii) sustainability; (iii) extendibility. The student focus should be on how events organisations can build a culture of entrepreneurship. This will require background reading on these three concepts. A starting point could be the approach taken by Kirkham et al. (2011), who suggest that a structured three-​stage approach to problem-​solving is the most effective way to address complex innovation challenges: 1. Define –​precisely what is wanted; 2. Discover –​as many alternatives as possible; 3. Determine –​which is the most effective. Examples from the events industry might include measures to overcome aspects of bureaucracy, rules, policies and regulations that often govern the whole spectrum of the events industry, from trade and business events to arts and entertainment events. In a service industry, like events with the focus upon people, it could involve initiating reforms in personnel and customer service. For example, this could involve diversification of both event employees and also greater diversification

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of event audiences. This could then be extended to innovations to attract event audiences across a broader variety of racial, ethnic, socioeconomic and cultural backgrounds. Students might wish to explore how the events industry could also tap into new markets amongst consumers with diverse lifestyles, experiences and interests. Students could also be encouraged to critique opportunities for entrepreneurship and innovation for events linked to sustainability, through better environmental stewardship and social responsibility. For example, Kirby et al. (2023) examined ethical products and services for the events industry and innovative practices to find efficiencies when faced with rising costs of living and global energy crises. The mantra of ‘reduce, reuse, recycle’ has become increasingly applicable for events (Mosey et al. (2023). Events communities and external stakeholders

The events industry is unique in terms of the importance of both ‘events communities’ and the interactions with external stakeholders. Both will provide entrepreneurial opportunities whilst presenting certain innovation challenges. Students are encouraged to draw on their own lived events experiences and consider how these factors could impact upon events innovation. Background reading should focus on how entrepreneurship is practised within events communities. In doing so, it will highlight the importance and complexity of interaction with external stakeholders and how these networks can be potentially mobilised to advance entrepreneurial activity and innovation within the events industry. In doing so, student should consider the key question –​ how do you add customer value within events communities? Students should explore the complexity of innovation within the events industry and the networks of stakeholders (internal and external) that can be potentially mobilised to overcome challenges and problems. It might be advisable from the outset to also refocus the term ‘stakeholder’ to ‘communities’ to reflect the culture and unique perspectives of the events industry. The Covid-​19 pandemic highlighted the importance of events organisations and individuals working together, as ‘communities’ often across traditional societal sectors, to find solutions to complex problems. Events organisations often deliver important social outcomes that go beyond the immediate services they offer, and as such, require mutual engagement with stakeholders and communities both within and outside of the industry. There are numerous opportunities for engagement and collaboration. The events industry has the potential to deliver broader public policy outcomes, and the value of events is often not recognised by those working within the industry, by the public, or by stakeholders and communities alike. As such, in events there is a need for greater stakeholder engagement and recognition of distinct and unique ‘communities’ across the industry. Students could consider whether there are opportunities for

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entrepreneurial activity and innovation through enhanced social connection across the full spectrum of events from sport competition or political /​state events to art /​entertainment or business /​trade events. For example, there could be scope for further digital engagement with event communities, and consideration of what events and festivals might look like in the metaverse. To conclude, innovation has evolved beyond the basic boundaries within an events organisation and now involves broader events communities. External stakeholders such as customers, volunteers, suppliers and competitors can all play a pivotal role in the development of new products, services and business models for the events industry. Events ecosystems

Students are encouraged to examine entrepreneurial ecosystems and the concept of events ecosystems. A central requirement for entrepreneurs in events will be to adapt to the requirements and knowledge of customers, and that they can no longer do this in isolation. All events organisations are now part of an ecosystem from the customer perspective, and this is how they need to perceive their contribution if they wish to survive. Students should look at the ‘bigger picture’ when populating their events diagnostic framework tool. The key question, linked to row 6 of the diagnostic tool is: How do you add customer value within events ecosystems? An events ecosystem will include independent actors such as entrepreneurs, suppliers, buyers and government who are all operating under a variety of socioeconomic and system constraints. Additional considerations include: 1. Acknowledge that your organisation is not the sole owner or guardian of the events ecosystem; 2. Find your space or place in the events ecosystem; 3. Find the balance between the physical and the digital for future events; 4. Do your homework on your competitors in the events space; 5. Position automation /​AI as a core component of events organisations of the future. In the context of the events industry, the potential and scope for further scrutiny and investigation is significant. One example might be encouraging students to consider whether event organisers should use contactless facial recognition technology at their venues, or whether the increased use of facial biometrics would be perceived as a threat to privacy as a form of intrusion upon our civil liberties. For example, at a local art or cultural event, could facial recognition be used as a contactless method to purchase food and drinks, or alternatively could it be used to buy merchandise from retail outlets at a music concert? This is just one example whereby students are encouraged to consider a multitude of digital innovations that could help events and festivals innovate to manage challenges. On the topic of

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facial recognition, students might be encouraged to explore some of the challenges and opportunities, including (i) managing large numbers of event attendees at once; (ii) understanding who and what threats exist in event and festival spaces; (iii) maintaining safe but unobtrusive event security protocols; (iv) providing a better event customer experience; (v) enhancing the reputation of the event as a market leader; or (vi) complying with and exceeding event venue health and safety protocols. Students might wish to choose an event and compose a list of ways that facial recognition could help solve critical event safety challenges while creating state-​of-​the-​art event experiences. On the broader theme, the main aim for the student is to assess how to add customer value within events ecosystems. Future societal innovation challenges for the events industry

Finally, when completing parts of the diagnostic tool, students should consider selected future innovation challenges for events organisations including, but not limited to: 1 Climate change: With warmer summers, more frequent flooding and prevalence of droughts, how can, and should, entrepreneurs in events organisations respond? 2 Event consumers: Can the events industry match the high level of service offered by companies like Amazon, if that is what consumers in the events industry demand? 3 Ageing: For more active parts of the events industry, what can entrepreneurs offer to an ageing but increasingly active population? Plus, do we know what older generations demand from their events experiences? Over the longer term, given that people in society are living longer, how can we innovate to make sure they have access to enhanced events products and services as they move into an older age? 4 Hybrid Events: What role can entrepreneurs play in helping consumers combine their online and real-​time event experiences and preferences? 5 Data: Do we have the right data protection and security systems and protocols established with the events industry? If so, how can entrepreneurs use and share open data sources? 6 Local provision: Will consumers increasingly demand localised events? If so, how can entrepreneurs create or modify products and services to deliver and meet this demand, and likewise, is it feasible to do this? 7 Outdoor events and activities: If, because of Covid-​19, or at least influenced by the pandemic, do people now want more outdoor events and activities? If so, what could, or should, entrepreneurs choose to prioritise and to develop new events products and services? 8 Technology: What technological areas should organisations prioritise, and what opportunities and challenges does this present for entrepreneurs within the events industry? For example, should the emphasis be on developing

newgenrtpdf

Diagnosis of current practices (a) 1. Can existing capabilities add customer value through an appropriate combination of skills and technologies in the events industry? 2. How do you recruit people to address diversification, sustainability and extendibility issues for events? 3. How do you motivate people to overcome inappropriate bureaucracy within the events industry? 4. How do you empower people to identify and address innovation challenges for events organisations? 5. How do you add customer value within distinct and unique event and festival communities? 6. How do you add customer value within event and festival ecosystems? Source: Adapted from Mosey, Shipway and Symons (2023).

What can we do better? (b)

What can we do without? (c)

What can we do differently (d)

Actions Who, What When (e)

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TABLE 11.1 Diagnostic framework for entrepreneurial change and innovation in events organisations

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experience-​based apps or perhaps enhancing online booking systems, to name just two of many areas? After considering some of the factors above, the main challenge for students is to build their own diagnostic framework for an events organisation of choice. Case study task

Table 11.1 is designed to help students understand where value lies within the events industry, and to focus upon their own core competences and dynamic capabilities, where they need to change, and why. To conclude, the events industry continues to provide customer value (Kirby et al., 2023). Humans have an innate need to socialise and share personal experiences, and events have the unique capabilities to provide these (Mosey et al., 2023). The events industry has been slow to change and innovate, but hastened by the Covid-​ 19 pandemic and the rise of digital competitors, the industry is responding with new hybrid products and services to attract customers back and enjoy memorable event experiences. Students are now encouraged to further scrutinise entrepreneurial behaviours and innovative practices for the events industry. References /​Further Reading Kirby, C. King, K. & Shipway, R. (2023). Embeddedness through Sustainable Entrepreneurship in Events. Event Management. https://​doi.org/​10.3727/​15259​9522​ X164​1994​8695​332 Kirkham, P. Mosey, S. & Binks, M. (2011). Ingenuity in Practice: A Guide for Clear Thinking. Nottingham: University of Nottingham. Mosey, S. Noke, H. & Kirkham, P. (2017). Building an Entrepreneurial Organisation, London: Routledge. Mosey, S. Shipway, R. & Symons, C. (2023). Entrepreneurship and Innovation in Sport and Leisure, London: Routledge. Shipway, R. Mosey, S. & Symons, C. (2023). Industry insights and post pandemic practices for entrepreneurship and innovation in leisure. Leisure Studies. https://​doi.org/​10.1080/​ 02614​367.2022.2157​467

Case 12 PREVENTING A FESTIVAL FIASCO Preparing for the Unexpected Christine M. Van Winkle and Kiri Shafto

Learning objectives

Upon completion of the case, students will be able to: • • • • •

identify hazards that threaten festivals; assess risks posed by various threats; develop strategies/​procedures to reduce risks; analyse the impact of hazards; and explore the responsibility of event management staff in responding to a hazard.

Duration

This case will take around 120–​150 minutes. Each phase is designed to be completed during one 50-​minute class session. The full case is designed to be completed during three classes. Instructors may choose to complete 1, 2, or 3 of the phases. Target audience

This case is designed for senior undergraduate students. Students should already have a foundation in event management, recreation management, or tourism management with exposure to basic programme planning and implementation. This case is designed to be completed in both small and large groups. At the conclusion of the case, the groups are encouraged to gather together to share knowledge gained. The case was used during a fourth-​year Recreation Management course and was successful at having students think deeply about emergency preparedness and DOI: 10.4324/9781003390381-12

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management at events. The case is designed for 12–​24 students but can easily be scaled up or down to accommodate smaller or larger classes. For the case to be executed effectively, there will need to be at least two groups of 6–​8 students each for phases 2 and 3. Teaching methods and equipment

This case requires students to undertake online research, complete assessments, engage in role-​play, and analyse a scenario. Group and class discussions will ensure that student learning is shared. The case is based on completion of a threat assessment, emergency management scenario creation, tabletop exercise development, and emergency planning goals and objectives. To effectively run this case, a classroom conducive to breakout group work is needed. Students will need access to the internet and the instructor will need to be able to share summary notes with the class (either on a board, flip chart, or computer with a projector). Teaching instructions

This 3-​phase case is described as though there are 24 students in the course. Instructors can choose to complete as many or as few phases as appropriate. Students will begin by working in pairs during phase 1 (12 groups of 2) and then work in 4 groups of 6 students for phases 2 and 3. Phase 1 (50 minutes)

Initially, students are placed into groups of two students. Each pair represents the Co-​Executive Directors of the Festival. Pairs will take an all-​hazards approach to develop a threat assessment. The instructor should review the purpose of an all-​ hazards approach prior to the breakout work. This approach is a comprehensive strategy that aims to address any potential emergency or disaster, regardless of cause or origin. The application of this strategic approach acknowledges that emergencies can arise from various sources, such as natural processes, technological accidents, pandemics, terrorist attacks, civil unrest, and others. Each pair of students will independently undertake online research to explore all possible hazards facing the event described in the case and will complete a Risk Assessment Table to: 1. Identify what is at risk: Consider people, facilities, equipment, and information that is at risk. 2. Identify potential threats: Start by brainstorming potential threats that could impact the community or organization. These threats could be natural, such as severe weather or earthquakes, or man-​made, such as terrorism or cyberattacks. Consider the history of the area and any past incidents that have occurred. 3. Determine the likelihood of each threat: Assess the likelihood of each threat occurring based on available data and expert analysis. This could involve

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4. 5.

6.

7.

reviewing historical records and statistical data, consulting with experts in the relevant fields, and considering current trends and patterns. Consider scenarios: Reflect on various scenarios that include high probability and low-​impact scenarios and low probability and high-​impact scenarios. Consider mitigation strategies: Based on the results of the threat assessment, develop mitigation strategies to reduce the risks associated with each threat. This could involve developing emergency response plans, investing in infrastructure improvements, or implementing measures to prevent or mitigate the impact of a potential threat. Determine the potential impact of each threat: Consider the potential impact that each threat could have on the community or organization, such as damage to infrastructure, loss of life, or economic disruption. This could involve analysing the potential consequences of each threat and assessing its severity. Assign risk levels: Once you have identified potential threats and assessed their likelihood and potential impact, assign a risk level to each threat. This could involve using a risk matrix or other tool to categorize each threat based on its likelihood and impact.

(The instructor can share the publicly available Risk Assessment Table at: (www. ready.gov/​sites/​defa​ult/​files/​2020-​07/​busine​ss_​r​isk-​ass​essm​ent-​table.pdf) After completing this exercise (40 minutes), each pair of students will report back to the class, sharing the 3 threats that they identified as most likely, and that could have the greatest impact (highest assessed risk). The instructor will list the threats shared and facilitate a discussion about how the groups identified the threats and ranked them as they did (10 minutes). Phase 2 (50 minutes)

The second phase of the case will involve students developing a tabletop exercise responding to a threat identified during Phase 1. The class will be split into groups of 6–​8 students. The instructor will then assign one of the top hazards identified during Phase 1 to each group. Each group will design a tabletop exercise to address a different hazard. While tabletop exercises are usually designed to test procedures, here, it will be used to identify what procedures, required resources, and key stakeholders are needed to address the hazard. Each group will start by brainstorming a scenario where their assigned hazard threatens the festival. Groups will be encouraged to read or watch news stories where similar hazards have threatened communities or organizations (15 minutes). This will help students prepare a realistic scenario (15 minutes). Next, the groups will write a summary of the scenario, which should include: 1. A detailed description of the hazard and the emergency that resulted; 2. Location of the emergency that unfolded due to the hazard;

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3. A time frame describing how the hazard threatened the community or organization; 4. Stakeholders that are involved in the emergency (both internal and external to the organization); 5. Communication challenges faced during the emergency (such as power outages, and misinformation); 6. Resources available to the organization (human, technological, physical); 7. Objectives that the students must achieve to successfully manage the emergency (i.e. evacuate a space, shelter in place for a period of time); 8. Roles that participants in the tabletop exercise must play (6–​8 key roles should be identified and described, drawn from the identified stakeholders). Twenty minutes should be allocated for groups to refine and prepare the final scenarios and tabletop exercise (including participant roles and objectives that the group completing the exercise must achieve), after which the groups will swap threats and scenarios with another group. Phase 3 (50 minutes)

In groups, students must complete a tabletop exercise designed by one of the other groups, by role-​playing through the scenario to achieve the objective identified (30 minutes). Each student will be assigned a role and will provide input based on the skills and experience that the identified stakeholder would bring to the emergency. Working through the tabletop exercise will test students’ ability to work collaboratively, make quick decisions, and effectively communicate with each other. The purpose of role-​playing during the tabletop exercise is to identify procedures and policies that need to be in place in order to effectively address the scenario described. The reason that diverse roles are included in the exercise is so that various perspectives are included in identifying procedures and policies required. After role-​playing the tabletop exercise, the group must identify the goals and objectives for an emergency response plan that addresses the scenario in the tabletop exercise (10 minutes). After completing the scenario, the instructor will lead a group discussion about what was clear, what was confusing, what gaps in knowledge or information existed and what policies or procedures would be needed to manage the emergency situation described (10 minutes). The instructor can use this discussion as a foundation for the study of emergency response plans. This case study could culminate in an independently written assignment where individual students produce a written emergency response plan to address their scenario that includes the perspective of each group member’s assigned role. The instructor can share the following publicly available resource with students in order

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to complete their plan: www.ready.gov/​sites/​defa​ult/​files/​2020-​09/​bus​ines​s_​em​ erge​ncy-​respo​nse-​plans.pdf Case The Enchanted Forest Music Festival

The Enchanted Forest Music Festival is a magical 2-​day gathering of music lovers and nature enthusiasts worldwide. This festival is only 4 years old and has already attracted 10,000 attendees. The festivities take place deep in the heart of a lush and expansive forest, where the trees provide a natural canopy for the stages and campgrounds. The festival is held on privately owned land that borders on parkland in rural Canada. Figure 12.1 depicts the forest festival site. As can be seen in the figure, there is one main gate to access the festival site and it is on the west side of the

FIGURE 12.1 A site

plan and map of the Enchanted Forest Music Festival.

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festival site. As attendees enter the site they pass by the information booth. The food and merchandise vendors are in the centre of the site. The mainstage is to the west of the vendors, the second and third stages are to the south of the vendors, the fourth stage is to the north of the vendors, and the first aid tent is to the east of the vendors. There is a road to the southwest that takes attendees to the campsites, which are not pictured on the map. The festival plays an important role in drawing visitors to the region and boosts the local economy. Small businesses, restaurants, and hotels experience a direct benefit from the tourists drawn to the festival as attendees often extend their stay in the region and spend money. While business owners generally support the event, some residents feel that the negative impacts of the festival outweigh the benefits. Specifically, the noise and waste produced by the event are problematic. In recognition of this, the event organizers donate a percentage of ticket sales to local charities and community initiatives. While there are drawbacks to the event, the community has come to rely on the funds raised. As you enter the festival grounds through the one main gate, you are immediately transported to a whimsical world full of wonder. The pathways are lined with fairy lights and lanterns, casting a warm and inviting glow throughout the forest. You can hear the distant sounds of music and laughter beckoning you to explore further. The festival is located on 500 acres and spread out over 4 stages, each one nestled among the trees and decorated with natural elements like flowers, vines, and moss. The music is eclectic and ranges from folk and acoustic to electronic and experimental, with something for every taste. In addition to music, there are a range of activities to explore throughout the festival. You can take part in guided nature walks to learn about the local flora and fauna, or attend workshops on topics like foraging or herbal medicine. There are also art installations and performance pieces scattered throughout the woods, inviting you to interact with the environment in new and unexpected ways, or you can simply relax in a hammock and soak up the serene surroundings. The 8 on-​site food vendors offer a variety of delicious and healthy options, with a focus on locally sourced ingredients and sustainable practices. There are also artisanal crafts and goods for sale, including handmade jewellery, clothing, and artwork. At night, the forest truly comes alive. The stages are illuminated with dazzling light shows and projections, while fire spinners and other performers entertain the crowds. You can dance under the stars or gather around a bonfire and share stories with new friends. Overall, the Enchanted Forest Music Festival celebrates music, nature, and community. It is a chance to escape the hustle and bustle of daily life and immerse yourself in the beauty and magic of the forest. Table 12.1 shows the festival programme overview. During the previous year’s event, there was a serious risk that a nearby forest fire could require the festival to evacuate. This would have been a major challenge for the event, given that there is only one main road in and out of the festival grounds. The risk of forest fires in the region has increased in recent years with

96  Christine M. Van Winkle and Kiri Shafto TABLE 12.1 Festival programme

Day 1

Day 2

10:00 AM –​Gates Open

10:00 AM –​Gates Open

Main Stage 12:00 PM –​Workshop 2:00 PM –​Band 1 4:00 PM –​Band 2 6:00 PM –​Workshop 8:00 PM –​Band 3 10:00 PM –​Band 4

Main Stage 12:00 PM –​Workshop 2:00 PM –​Band 10 4:00 PM –​Band 11 6:00 PM –​Workshop 8:00 PM –​Band 12 10:00 PM –​Band 13

Second Stage 1:00 PM –​Band 5 3:00 PM –​Workshop 5:00 PM –​Band 6 7:00 PM –​Band 7

Second Stage 1:00 PM –​Band 14 3:00 PM –​Workshop 5:00 PM –​Band 15 7:00 PM –​Band 16

Third Stage 12:30 PM –​Band 8 2:30 PM –​Workshop 4:30 PM –​Band 9 6:30 PM –​Workshop

Third Stage 12:30 PM –​Band 17 2:30 PM –​Workshop 4:30 PM –​Band 18 6:30 PM –​Workshop

Fourth Stage (Acoustic Stage) 11:30 AM –​Solo Artist 1 1:30 PM –​Solo Artist 2 3:30 PM –​Solo Artist 3 5:30 PM –​Solo Artist 4 7:30 PM –​Solo Artist 5

Fourth Stage (Acoustic Stage) 11:30 AM –​Solo Artist 6 1:30 PM –​Solo Artist 7 3:30 PM –​Solo Artist 8 5:30 PM –​Solo Artist 19

increasingly hot and dry weather. During last year’s event, the local authorities issued an evacuation alert for the town less than 5km from the festival site. While the alert did not escalate to an order and did not result in the need for the festival to evacuate, this experience raised concerns both in the broader community and within the festival organization about the level of emergency preparedness of the festival. As the festival is less than 5 years old and has grown quickly, no formal documented emergency plans exist for the event. The local government has asked the landowner and the festival to submit a full threat assessment and an emergency management plan to the rural municipality before the upcoming festival season. As senior staff with the festival, you and your team will complete a threat assessment and undertake an emergency management tabletop exercise to help you identify gaps in your preparedness that can be used to develop an emergency response plan goals and objectives.

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Your aim is to reduce the impact of emergencies by identifying potential hazards, assessing vulnerabilities, and developing appropriate response plans. References /​Further Reading Department of Homeland Security (n.d.). Emergency Response Plan. www.ready.gov/​busin​ ess/​imp​leme​ntat​ion/​emerge​ncy. Access Date: 19 April 2023. Wynn-​Moylan, P. (2017). Chapter 2: Event safety management system. In Risk and Hazard Management for Festivals and Events. Routledge, 18–​45.

Case 13 REDESIGNING A FAIR USING THE SIX THINKING HATS METHOD Eylin Aktaş

Learning objectives

Upon completion of this case, the participants will be able to: • assess an event directed at a certain target audience; • discuss the essential motivations for a certain target audience to commit to an event; • think about an event from different perspectives and assess all of them together; and • redesign an event intended for a specific target audience. Duration

The duration of the case may vary between 100 and 150 minutes in total. This time span can be distributed as follows: • Step 1: General briefing by the instructor, setting the groups, distributing relevant questions to the groups, and allocating the tasks within the groups (20–​ 30 minutes); • Step 2: Group 1’s application of the six thinking hats method to the question “What are the reasons and main motivations of Gen Z for participating in events?” and presentation of the results (20–​30 minutes); • Step 3: Group 2’s application of the six thinking hats method to the question “Why do Gen Z members do not participate in Seacity International Fair?” and presentation of the results (20–​30 minutes);

DOI: 10.4324/9781003390381-13

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• Step 4: Group 3’s application of the six thinking hats method to the question “What to do to encourage Gen Z to participate in Seacity International Fair?” and presentation of the results (20–​30 minutes); • Step 5: General assessment (20–​30 minutes). These phases and time spans are recommended. If needed, the instructor may cancel certain phases after examining the phases whose time spans are stated above and whose details are given below, or else add new methods of implementation in the frame of different questions. Target audience

This case can be conducted with undergraduate and graduate students. As undergraduate classes may be more crowded, class-​specific changes must be made in the application method. This case study may be repeated, or the six thinking hats method must be applied within the frame of different samples and cases in order for all participants in the classroom to be able to perform an application. Another option is that the instructor will wear a blue hat and have all the participants in the classroom take part in the process for the rest of the hats. The decision must be made based on the class size and the benefit of all or of the majority of the participants. A five-​stage process is designed for this case. Three separate groups will apply the six thinking hats method in the framework of various questions in Step 2 (5 participants), Step 3 (5 participants), and Step 4 (6 participants). That’s why a group of at least 16 participants are needed for the case study. Since the number of groups will change depending on the changes in the stages to be made by instructor, the total number of participants may vary. Prior to the implementation, certain information as follows, must be given to the participants: • • • •

Basic information about event management; General information about the redesign process of the event; General information about the fairs and general fairs; and Generation theory and basic information about Gen Z.

A list of key resources on these topics is provided in Further Reading as suggestions. Teaching methods and equipment

In this case, the techniques of six thinking hats and group discussion are employed. An informative note about the six thinking hats method and different perspectives on the hats with different colours must be given to the audience (see Table 13.1).

100  Eylin Aktaş TABLE 13.1 Six thinking hats

Type of thinking

What it is like

What it is not

WHITE HAT (facts and figures)

neutral objective rational computer-​like

RED HAT (emotions and feelings)

emotions, feelings and gut reactions. hunches, intuitions, tastes, aesthetic preferences.

BLACK HAT (logical-​negative)

negative assessment why it won’t work “yes, but” objecting criticisms what’s wrong, in error risks and dangers tests for white hat thinking positive assessment constructive optimistic focus on benefits, values emphasize practical includes dreams, visions, probing, exploring, finding logical support generative makes things happen creative fertile, growthful generating alternatives changing getting new ideas approaching old problems in new ways being absurd, humorous provoking thinking managing thinking planning and organizing monitoring and controlling giving all hats their turn formally structuring thinking

arguing interpreting extrapolating opinion giving justifying persuading justifying explaining accounting for logical consistent emotional argumentative subjective

YELLOW HAT (speculative-​positive)

GREEN HAT (creative and lateral)

BLUE HAT (control of thinking)

Source: J. Mills (1988).

emotional intuitive Pollyanna

logical judgemental negative

persuading advocating criticizing

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The instructor must play a facilitative role during this process, convey the general process and method before the study begins, tell participants to which case study to focus, and communicate the questions to be evaluated in the phases. Each group must be informed about the duration, and the statements written and expressed for different hats must be assessed and required to be rearranged, if needed. The participants must write their own statements taking into account what their hat requires in accordance with a common decision amongst group members and communicate this verbally to both the group and the class. The participants in the groups must also follow the process carefully since each stage is followed by another, and a general assessment which will include all participants will be made in Step 5. While applying the six thinking hats method, instructors must consider the following: • • • •

The blue hat participant must always begin and finish; The colours may change depending on the workpiece at hand; The group members must follow the colour sorting specified in the stages; Each member must create and express his/​her own view after listening to the preceding participant’s opinions about the called colour.

During this study, six hats with different colours, note paper, a blackboard, and a projector, if necessary, can be utilized. Teaching instructions

The process is planned to consist of 5 stages. Step 1

The instructor must give general information and an informative note which contains the features of the six thinking hats method to the whole classroom (see Table 13.1). The instructor must convey the case study and the problem specified in the content to the classroom and give an informative note to the class or use a projector for this. After the completion of a general briefing, the participants must be informed that the audience will be formed into 3 groups to conduct the study. Then, 3 groups consisting of as many people as the number of colours specified in Step 2, Step 3, and Step 4 must be formed. This may be done randomly from a participant list, or participants can be included by the drawing of lots. At each stage, those outside the relevant groups determined in Step 1 will take part as spectators. These 3 groups must come together in different areas of the classroom and share the colours among themselves and decide the hat which each participant will carry/​

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wear. The members must learn the colour ranking to track in the process, which will be carried out by their own groups. Step 2

This stage is for thinking on and internalizing the knowledge acquired about Gen Z in terms of these activities. If the instructor conducted such a study with the participants previously, s/​he can skip that part. However, while making a decision, different perspectives provided by the six thinking hats method and the contribution of each group to the systematics of thinking differently must be evaluated correctly for the effective implementation of the case. Group 1 will work on the question “What are the reasons and main motivations of Gen Z to participate in the activities generally?” During this stage, the following actions must be taken: • The instructor communicates the problem to the group and informs the group again that each member must think in accordance with his/​her own colour, writes a statement and expresses himself/​herself, and says that he/​she will intervene in improper practices. • Colour sorting for this session can be as follows: Blue, White, Yellow, Black, Red, and Blue. • The participant with the blue hat starts the session. • The green hat may not be included in this session since the session consists of determining the situation and no new idea is targeted during this session. • Group 1 members write their own statements in the order specified above and communicate this verbally. The participant in the blue hat starts the session. Then the white hat participant continues. After the whitehat participant shares her/​his views about the situation, the yellow hat participant must be given 3–​5 minutes to write down his/​her own opinions. The same process must be followed for other colours in the same order. • After all participants from all colours in the session share their own opinions, the blue hat participant makes a general assessment and presents this to the classroom. • This general assessment is written on the board. Step 3

In this stage, an attempt should be made to explore the reasons behind the indifference of Gen Z members towards Seacity International Fair. The findings to come out in this stage are important for grasping the relation between Gen Z and Seacity International Fair and the problems in this relation. Group 2 will work on the question “Why do Gen Z members not participate in Seacity International Fair?” In this stage, the following actions must be taken:

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• The instructor communicates the problem to the group and informs the group again that each member must think in accordance with his/​her own colour, writes a statement and expresses himself/​herself, and says that he/​she will intervene in improper practices. • Colour sorting for this session can be as follows: Blue, White, Yellow, Black, Red, and Blue. • The participant with the blue hat starts the session. • The green hat may not be included in this session since the session consists of determining the situation and no new idea is targeted during this session. • Group 2 members write their own statements in the order specified above and communicate verbally. After the blue hat starts the session, the white hat participant takes a turn. After the white hat participant shares her/​his views about the situation, the yellow hat participant must be given 3–​5 minutes to write his/​ her own opinions. The same process must be followed for other colours in the same order. • After all participants from all colours in the session share their own opinions, the blue hat participant makes a general assessment and presents this to the classroom. • This general assessment is written near the results achieved in Step 2 on the board. Step 4

After determining the situation in Steps 2 and 3, this stage centres on what type of changes must be made in participant countries and companies, as in relevant events and the marketing communication work of the fair, to have Gen Z participate in Seacity International Fair. Thus, new suggestions may be made during this stage after understanding what the problem is. Group 3 will work on the question “What to do for making Gen Z participate in Seacity International Fair?” The following actions must be taken in this stage: • The instructor communicates the problem to the group and informs the group again that each member must think in accordance with his/​her own colour, writes a statement and expresses himself/​herself, and says that he/​she will intervene in improper practices. • Colour sorting for this session can be as follows: Blue, White, Yellow, Black, Red, Green, and Blue. • The participant with the blue hat starts the session. • Group 3 members write their own statements in the order specified above and communicate verbally. After the blue hat starts the session, the white hat participant takes a turn. After the white hat participant shares her/​his views about the situation, the yellow hat participant must be given 3–​5 minutes to write his/​

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her own opinions. The same process must be followed for other colours in the same order. • After all participants from all colours in the session share their own opinions, the blue hat participant makes a general assessment and presents this to the classroom. • This general assessment is written near the results achieved in Step 2 and Step 3 on the board. Step 5

After completing the first 4 stages, the instructors may notice that the participants have grasped Gen Z in terms of activities, examined the reasons why they did not participate in Seacity International Fair, and found new ideas about how to design the fair to encourage Gen Z members to participate in it. In Step 5, a group discussion on the summary of results from Steps 2, 3, and 4 that is written on the board will be held and the whole classroom will participate in this discussion. This process must be managed as follows: • Firstly, the classroom must be asked if they have any new contributions to the results from Steps 2 and 3, and each participant must be recognized to speak his/​ her own words. Thus, members of different groups can make suggestions about the problems at hand, which were not shared before. After the additions made by participants, the instructor must update the results on the board. • Then, Step 4 must be studied and each participant in the classroom must be recognized to speak and asked to make improvement suggestions for Seacity International Fair and Step 4 must be updated. • At the end of this stage, a discussion must be had with all participants, and the discussion findings of Steps 2, 3, and 4 must be evaluated and finalized. Case

Seacity International Fair is a general and deep-​rooted fair held in Seacity. The fair began to be held based on the historical roots of the city, which has historically been an important trade centre and seaport. This specialty caused Seacity International Fair’s foundations to be laid in 1923, which as a 100-​year-​old fair became an important part of the city’s commercial and cultural wealth in 2023. Seacity International Fair is open for one month a year, attracts many participants and visitors, and is anticipated and followed by the local people with great interest. The fair contains stands with products and services from various sectors, country pavilions, stands from various institutions/​organizations, and many cultural and entertaining activities. From its early years to this day, this fair has been in the limelight of both local people and national and international countries and companies. It has also

Redesigning a fair using the six thinking hats method  105

produced significant effects during the historical process as an event where the city people can follow global and national developments, look at important names from the arts and culture, and have some fun as well. However, the number of visitors and participant institutions/​organizations/​companies has decreased throughout the years. Moreover, the fair does not attract Gen Z members among local people. As shown in the visitor statistics of the fair in the last 10 years, the participation rate of Gen Z has continuously decreased. The results of the research on fair visitors indicate that Gen Z members do not relate to the fair as strongly as Gen X and Y members do. For individuals belonging to the X and Y generations, especially for the X generation, Seacity International Fair is a legacy handed down from their families. For these generations, the fair is an event that is looked forward to every year, is visited and where time is spent with the family, and it is an important indicator of belonging to Seacity. One of the main reasons for this is that these generations are late acquainted with the world of technology and the internet, and their commitment to local cultural elements is stronger. However, the same is not the case for Generation Z. This generation encounters elements specific to the global culture more often than local issues, along with technological opportunities. Moreover, they live and socialize in it. On the other hand, this generation, who was born into the digital world, has been offered the opportunity to do many activities in both physical or virtual places. As a result, the number of all sorts of events targeting Gen Z is increasing. To make this fair exist as a traditional event, which has a historical dimension and a role in the city identity that contributes positively to Seacity, the next generations must embrace this fair. Gen Z plays a key role in all these considerations. Therefore, it is necessary to ensure the participation of Gen Z members in the fair in order to increase the number of general visitors, to transfer this traditional fair to next generations and internalize it as a part of the city’s culture, and to develop a commitment to make the fair a part of their own cultural world. Seacity International Fair 2023 will celebrate its one hundredth year in 2023. Thus, this year, it has been planned to redesign Seacity International Fair especially for Gen Z. Generation Z can be defined as a generation with a high level of education, that is creative, productive, entrepreneurial, independent, simple, interactive, flexible, follows technology closely, masters mobile devices, is multicultural, wants to access up-​to-​date information quickly and easily, and considers networking important for the future. In addition to the entertainment and socialization opportunities of the events, this generation prefers events that create educational and professional opportunities for themselves, that are suitable for the digital age with technological innovations, and that include social and environmental problems and kindness movements. References /​Further Reading de Bono, E. (1985). Six Thinking Hats. Boston: Little, Brown.

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Getz, D. (2007). Event Studies: Theory, Research and Policy for Planned Events. London: Elsevier. Hudson, S. & Hudson, L. (2017). Marketing for Tourism, Hospitality and Events. London: Sage. Mills, J. (1988). Six Thinking Hats: An Exercise to Combat Confusion and Develop Thinking Skills. Developments in Business Simulation & Experiential Exercises, 15, 201–​204. Seemiller, C. & Grace, M. (2019). Generation Z: A Century in the Making. New York: Routledge.

Case 14 IMPROVING THE FESTIVAL EXPERIENCES OF SOLO ATTENDEES Bernadette Quinn and Maarit Kinnunen

Learning objectives

Upon completing the case, participants will be able to: • appreciate that festival experiences vary depending on a variety of factors including party composition; • understand that festival experiences are dynamic and vary by time and space during a festival; • understand more about the nature of the solo festival attendee experience and how it differs from attendees who experience festivals as part of couples/​ groups; and • devise recommendations to improve the experience of solo attendees. Duration

This case is designed for flexible execution. It can be used either as the basis for a 2-​hour class followed by a piece of takeaway student assessment or as the basis of 2 x 2-​hour classes. Target audience

This case will work well for final-​year undergraduate and taught postgraduate students studying event management or cultural event management. It combines individual and group work. It does not require any specific background knowledge.

DOI: 10.4324/9781003390381-14

108  Bernadette Quinn and Maarit Kinnunen

Teaching instructions

CLASS 1 (a break can be considered between Phases 3 and 4) Phase 1 Concept Overview: (15 minutes) The Lecturer spends 15 minutes setting up the context with an overview of the concepts of ‘festival experience’, ‘solo festival attendees’ and ‘solo festival attendees’ experiences’. In the process, the following questions are generated: 1. Why might people attend festivals on their own? 2. What are the key dimensions of the solo attendee experience? 3. Does the experience vary during the course of the festival attendance? If so, how? Phase 2 Giving Instructions: (15 minutes) The Lecturer clearly displays the three questions generated in Phase 1. Then, they divide the class into groups of 4–​5 students, distribute the 6 participant profile cards and give instructions. Each group is to be given any 3 profile cards such that all 6 profiles are distributed to a roughly similar number of groups (it does not matter if the same profiles are studied by different groups). Instructions: 1. At the end of the task, each student group should have agreed a set of answers to the questions set by the Lecturer at the end of Phase 1. 2. Each student group should identify individuals among them to act as (1) Note-​ taker, (2) Facilitator and (3) Reporter. 3. The Lecturer explains that once divided into groups, each student must first individually read the profiles and form individual answers to the questions. Their responses are then shared with other students in their group. Once this is complete, each group then agrees a shared response that will be communicated to the class as a whole. All of the responses communicated by each group will be discussed by the class as a whole. A synopsis of these discussions will be captured and recorded by the Lecturer for later sharing with students. Further details are below. Phase 3 Students work in groups: (25 minutes in total) This phase begins with students individually reading and taking notes on the participant profile cards and devising individual responses (10 minutes). Then students share their responses with others within their group. The Facilitator of each group encourages all students within the group to share their individual responses and the Note-​taker records these (15 minutes). Phase 4 Each student group presents results: (20–​30 minutes) Facilitated by the Lecturer, each student group reports their answers to the questions. Now, all of the

Improving the festival experiences of solo attendees  109

students in the class will be exposed to the ideas articulated by each of the groups and will be able to reflect on the responses composed by their own group. Phase 5 Class reflects together: The final 20–​30 minutes are spent reflecting on the cluster of answers recorded for each of the questions. A discussion ensues as to which might be the most appropriate overall. Polling software could be used here to see which responses get most votes. Following Phase 5, the first class ends. The Lecturer ensures that a synopsis of the final discussion (Phase 5) is made available to students. By way of follow-​up to CLASS 1, there are two options. One is to develop a takeaway assessment; the other is to hold a second class using the case study. Both options are detailed below. Takeaway assessment

Working individually, students are asked to reflect on the participant profile cards and on CLASS 1 discussions and prepare a 500-​word answer to the following question: Based on the data presented in the participant profile cards, identify the management implications for festivals wishing to improve their offering for solo attendee needs. In addition, make three recommendations as to how solo experiences might be improved. The assessment should show: • understanding that the needs of solo attendees differ from those who attend with another/​others; • awareness that a festival experience varies during the course of attendance; • innovative thinking about how managers could devise ways of improving the solo attendees’ experience at particular times during the performance or in particular spaces in the venue. CLASS 2 (a break can be considered between Phases 3 and 4) Phase 1 Concept Overview: (15 minutes) The Lecturer spends 15 minutes setting up the context with an overview of the concepts of ‘managing festival experiences’, ‘service quality in festivals’ and ‘the needs of solo festival attendees’. In the process, questions are generated: 1. What particular requirements do solo attendees have when it comes to service delivery? 2. To what extent do festivals cater for solo attendees in their service provision? 3. What recommendations would you make to improve the experience of solo attendees?

110  Bernadette Quinn and Maarit Kinnunen

Phase 2 Giving Instructions: (15 minutes) The Lecturer divides the class into groups of 4–​5 students, distributes the synopsis of CLASS 1 final discussions (Phase 5) to each group, and gives instructions: 1. At the end of the task the group should have agreed a set of answers to the three questions set by the Lecturer at the end of Phase 1. 2. A Note-​taker, a Facilitator and a Reporter are to be identified among each student group. 3. The Lecturer explains that the task will begin with students individually reading the synopsis of CLASS 1 and forming individual answers to the questions (10 minutes). Their responses are then to be shared with other students in their group. Once this is complete, each group will then agree a shared response that will be communicated to the class as a whole. All of the responses communicated by each group will then be discussed by the class as a whole. A synopsis of these discussions will be captured and recorded by the Lecturer for later sharing with students. Further details are below. Phase 3 Students work in groups: (25 minutes) Students read and take notes on the CLASS 1 synopsis individually and devise individual responses (10 minutes). Encouraged by group Facilitators, each student then shares their individual responses with the rest of their group. These are noted by the Note-​taker and a shared response to the 3 questions is agreed by each group (15 minutes). Phase 4 Each student group presents results: (20–​30 minutes) Facilitated by the Lecturer, Reporters from each group communicate their answers to the 3 questions to the class as a whole. Phase 5 Class reflect together: For the final 20–​30 minutes, the entire class reflects on the cluster of answers recorded for each of the questions. Discussion ensues as to which might be most appropriate overall. Polling software could be used here to see which responses get the most votes. A synopsis of these discussions will be captured and recorded by the Lecturer for later sharing with students. Case

The Great Summer Festival is an imagined, large music festival that takes place in a capital city. The annual number of daily visitors exceeds 20,000. Six people are attending the festival alone and here are their participant profile cards. The stories are combined from various answers to the Finnish Festival Barometer 2022.

Improving the festival experiences of solo attendees  111

PROFILE CARD 1

Music is one of the most important things in my life. I enjoy listening to music and watching live shows. I also actively search for new music that interests me. Music helps me cope in everyday life. I go to live gigs at least once a month. I also go to a festival if any of my favourite bands at the time perform there. My favourite place is beside the mixing board (FOH) since the sound is best there. I’m not denying that I feel lonely and vulnerable during breaks when waiting for the next gig to start. You can’t help realizing you are probably one of the few people there alone. Sometimes I feel people look at me with suspicion or pity cause I’m alone. Even if I start a conversation with someone, they answer me out of duty, as they have more meaningful friends with them. What do I get out of it? Actually, hard to say. There’s rarely any special euphoria or good cheer, and often the best feeling is to get to lay down in your own bed to rest your tired aching body. Of course, you get the evidence for social media that you’ve actually been somewhere.

112  Bernadette Quinn and Maarit Kinnunen

PROFILE CARD 2

We have this deal with my spouse that we’re able to go out individually every now then. The other one stays at home to look after the children. At festivals, I love to see bands I could otherwise not see live. I cannot go to gigs so often because the children are so small and I share responsibilities with my spouse. So, at festivals I can see several artists at the same time, and I can kind of catch up with the music. I don’t mind being there alone as I’m thinking of my loved ones all the time and I’m not staying away for long anyway. At the festival, I feel good, participate in a community, check out known and new bands, enjoy music my children don’t (yet) like.

PROFILE CARD 3

I like music, listen to it, collect it. I have thousands of vinyl records that I like to listen to. Going to an outdoor festival to hear live music is always a nice change after a long winter.

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I like attending festivals alone since then I get to decide which artists to see. If I were with someone else, I’d have to make compromises to keep us both happy: which bands to watch, when to eat and drink, when to have a break. Anyway, I’m there for the music and I can concentrate better on it when I’m alone. However, sometimes it’s boring not being able to talk about the shows with anyone, but I’m not very good at talking to strangers. Still, I enjoy going to festivals alone, listening to all kinds of new music and going back home with good feelings.

PROFILE CARD 4

Why do I go to festivals? I like the atmosphere, want to see artists and want to see friends. Festivals are a summer tradition for me. Going to festivals alone is really fine by me, but on the other hand my friends also go to many events such as the Great Summer Festival. So, I see them there and we hang out some of the time, even if we don’t actually go to the festival together. Going alone, you don’t need to compromise and you can follow your own schedule. I’ve also always felt safe at the Great Summer Festival. The only problem is if you want to see some artist from up front, because from the front row, you can’t go to get a drink or to the toilet without losing your place if there’s no one to hold your place for you. I get lots of joy from festivals. Joy of live music and nice encounters with friends. Sometimes there are such performers whose individual gigs you wouldn’t attend, but at festivals you can listen to them.

114  Bernadette Quinn and Maarit Kinnunen

PROFILE CARD 5

Festivals are a good way to see many artists at the same time. Additionally, live music is always good, even though you wouldn’t know the artist so well. There’s always good feeling at festivals. At first, I felt lonely being there alone, but I’ve gotten used to it. It gets easier when gigs start, and during the show you don’t even notice being alone. Breaks are always boring. Fortunately, you can meet new people at festivals. I get good vibes, the feeling of wanting to experience more of this. Live music is amazing, and I’d go to gigs all the time if I just could.

PROFILE CARD 6

I go to festivals for the experiences, you kind of get empowered at festivals. As a hypersensitive introvert you each time conquer yourself when you survive and recover. At the same time, you collect good memories. With my nervous system, it’s an ordeal to be at festivals, but it’s worth it all. I prefer going alone, so I can decide when to come and go and what to watch

Improving the festival experiences of solo attendees  115

and where. Less stress, especially as you can avoid drunken company. You get to concentrate on savouring the gigs. After the festival, you’ll remember again being alive when each cell reacts. Yeah, and at the same time you get fresh air and forget the wicked world.

References /​Further Reading Hassanli, N., Walters, T., & Williamson, J. (2021). ‘You feel you’re not alone’: How multicultural festivals foster social sustainability through multiple psychological sense of community. Journal of Sustainable Tourism, 29(11–​12), 1792–​1809. https://​doi.org/​ 10.1080/​09669​582.2020.1797​756 Marshall, H., Johnson, J., & Brown, A.E. (2023). Going alone: The experience of solo event goers at music events in the UK. Event Management, 27(4), 591–606. https://doi.org/10 .3727/152599522X16419948695260 Steadman C., & de Jong A. (2022). Atmospheres of belonging? Exploring ambient power through Manchester’s Craft Beer Festivals. In Smith, A., Osborn, G., & Quinn, B. (Eds.), Festivals and the City: The Contested Geographies of Urban Events (pp. 111–​128). London: University of Westminster Press. https://​doi.org/​10.16997/​boo​k64.g

Case 15 HOW TO MAKE LIVE MUSIC EVENTS SAFER FOR EVERYONE? Maarit Kinnunen and Antti Honkanen

Learning objectives

After completing the case, participants will be able to: • define different types of inappropriate behaviour that might take place at live music events; • identify under-​represented groups who go to these events and the inappropriate behaviour they might face; • define measures that make live music events safer for everyone; and • define safer spaces policies. Duration

The total duration of the case is 8–​10 hours, including self-​study (2–​4 hours), and three classes (6 hours in total). Target audience

The case aims to increase understanding of inappropriate behaviour at live music events and the consequences to those facing such behaviour. The participants should be aware of general principles of equality. It is noted that legislation, rules and regulations are not the same everywhere in the world. In some societies, the principles that are described here are not in force, and this exercise might not be suitable for such societies, since execution of the case study might endanger students’ safety if talking or writing about minority rights is a punishable action.

DOI: 10.4324/9781003390381-15

How to make live music events safer for everyone?  117

This case is suitable for all levels of education. The related concepts will be learnt during the execution of the case. It should be noted that discussions might involve personal experiences of inappropriate behaviour, and one should take care to respect everyone’s experiences, and their feelings and emotions should not be questioned. Teaching methods and equipment

The case consists of self-​study, group work and lecturer-​driven discussions. Teaching instructions

According to various studies, harassment, violence and discrimination towards women and under-​represented groups are present at live music events to the same extent as in the surrounding society. Under-​represented groups include, for example, the disabled, gender minorities like non-​binary and trans persons, and sexual, ethnic, religious, cultural and language minorities. If we are aiming for an inclusive and diverse music event industry, it is important that inappropriate behaviour be minimised. Live music events are spaces where people are relaxed, have fun and step away from everyday life. Those events that are arranged outdoors or in bars, clubs or restaurants might also facilitate particularly the consumption of alcohol and drugs (even though drugs are illegal in most countries). Being under the influence might contribute to behaviour that is not appropriate. Other factors identified as facilitators of discrimination, harassment and violence are the size of the area, crowds, a low level of surveillance, insufficient security personnel and low lighting. The consequences of inappropriate behaviour are various: victims feel humiliated, disrespected, violated and angry. The outcome might be fear of certain spaces or people, and, in some cases, this might lead to the victim ceasing attending live music events altogether. More common outcomes are different “protective routines” that reduce the freedom of those who are at risk. These include paying attention to how to dress, avoiding risky spaces like in front of the stage, having friends present all the time, reducing alcohol consumption, or going to familiar events and venues only. Safer space policies started to appear after the #MeToo social movement, along with increased knowledge and media attention regarding behavioural and discriminatory problems at live music events. Safer space policy is not the same thing as the event security plan. Safer space policy defines what is permitted in an organisation’s spaces and events regarding behaviour towards other people. Usually, this is described as “zero-​tolerance to assault and harassment” (see, for example, www.festi​vals​afe.com/​info​rmat​ion/​safer-​spa​ces or https://​safet​heda​nce. de/​en/​gui​de_​s​afer​_​spa​ces/​). Often, the policy also includes information about the organiser’s values.

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The name of the policy includes the word “safer” (not safe) since it is acknowledged that it is impossible to create a space that is safe for everyone in all circumstances. A typical focus is a safer space for women, disabled and LGBTIQA+​, as well as racial minorities and other members of minority groups. Typically, safer space policies define: • How the event or venue aims to prevent discrimination, harassment and violence; • What kinds of attitudes and behaviours are allowed and not allowed; • How to report possible incidents; and • The possible consequences for violators. Step 1: Self-​study (2–​4 hours)

For pre-​work, students should read two of the references of this case study or any other work on the topic recommended by the instructor, paying special attention to actions recommended to prevent harassment, violence and/​or discrimination. Step 2: Discussion on safer spaces policies and evaluation of scenarios (2 hours)

Safer space rules for the class (10 minutes): Before starting any of the discussions in class, the instructor should go through the safer space rules to be followed in class. In the first class, the guidelines should be gone through thoroughly, and in the subsequent classes, it is enough to refer to them only briefly. This is important because some of the students might have had traumatic experiences of inappropriate behaviour, and their experiences should not be questioned. Instead, they should be valued for being brave enough to share them. If the school and/​or university has not defined safer space rules that are applied in classes, the following can be applied: www.jyu.fi/​en/​ congr​ess/​nor​dic-​deve​lopm​ent-​resea​rch/​pra​ctic​alit​ies/​safer-​space-​rules. Instructor-​led discussion (20 minutes): The findings and definitions of safer spaces, found in the pre-​work (Step 1), are discussed in class, considering, for example, the following issues: • • • •

What is the definition of safer space policies? What are the benefits of such policies? For whom are they made? Why is it important to protect those who are vulnerable even though they often form the minority of the event attendees?

Group work (30 minutes): After the discussion, students are divided into groups. Each group will evaluate one of the presented scenarios (several groups can evaluate the same scenario). The groups should be prepared to present their perceptions, based on their scenario, on the following questions:

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• In terms of inappropriate behaviour, what happened and why? • What should the reporting option(s) be for the incident(s)? • If the event organiser gets to know about the incident during the event, what should they do? • How could the event organiser prevent this from happening in the future? • What might happen if the event organiser does nothing to improve the situation? Discussion in class (30–​40 minutes, required time depends on the number of groups): The group results are presented by scenarios. If several groups evaluated the same scenario, these presentations follow each other, and the discussion on the specific scenario starts only after all the presentations concerning this scenario. The conclusions of all the scenarios are to be put together: • Why is it important to define safer space policies? • What could be the consequences if that is not done? Step 3: Definition of a safer space policy (2 hours)

Safer space rules for the class (5 minutes): Before starting the work, the instructor goes briefly through the safer space rules followed in class. Division into groups and instructions (10 minutes): The students are divided into groups that do not have to be the same ones as in Step 2. Each group will define a safer space policy for a festival or a gig and/​or concert place of their choice. They should make use of the literature (Step 1) and earlier discussions (Step 2). The following could be considered when defining the policy: • What is the aim of the policy? • Does the event and/​or venue have values that should be stated in the policy? • Should the guidelines be addressed to different stakeholders (staff, security personnel, performers, audience)? • What kinds of attitudes and behaviours are allowed and not allowed? • How to report possible incidents and how to do the follow-​up? • What are the possible consequences for violators? Group work (max 1.5 h): The group will write down their safer space policy in a format that helps in presenting it in the next class (for example, PowerPoint, flip chart). Step 4: Presentations of safer space policies (2 hours)

Safer space rules for the class (5 minutes): Before starting the work, the instructor goes briefly through the safer space rules followed in class. Group presentations (1+​ h, depending on the number of groups): Each group presents their safer space policy, and each of them is discussed.

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Summary (30 minutes): After all the presentations, the best practices are summarised concerning the following: • The preferred code of conduct at live music events and whom the guidelines concern; • Best practices for incident reporting; • How to do the incident follow-​up; • How to implement the safer space policy (training, publicity, communication). Case

Live music events provide entertainment, relaxation and fun for all. Or do they? In recent decades, increased attention has been paid to sexual harassment that takes place at both festivals and live music venues. For example, in the UK, 33% of women have experienced sexual harassment at music festivals (Bows et al., 2023). In the Finnish Festival Barometer 2022, 30% of respondents had faced some kind of inappropriate behaviour. This behaviour was defined as harassment because of gender; sexual orientation; ethnicity; disability, functional or mental capability; age; language; clothing or appearance; sexual harassment; physically threatening situations; physical violence; and discrimination. Members of under-​represented groups (like gender or sexual minorities, ethnic minorities or disabled persons) had experienced much more of such behaviour than the members of the so-​called majority. It was even more so the case if the respondent belonged to more than one minority. Figure 15.1 illustrates how strongly, for example, gender influences one’s being faced with inappropriate behaviour. To minimise these incidents, music event organisers have trained their staff and defined safer spaces policies that are applied in their venues. These policies state

FIGURE 15.1  Experiencing

inappropriate behaviour in other than classical music festivals in the last five years, by gender (mean age of respondents: 33.7 years).

Source: Finnish Festival Barometer 2022.

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the values and attitudes supported by the venue, what kind of behaviour is allowed and what is not, and how to report incidents without blaming the victim and causing retraumatisation (Fileborn et al., 2020; Hill & Megson, 2020a). The overall aim is that everyone would feel welcome and could have fun without fear in live music venues, even though there might be such risks in the surrounding society.

SCENARIO 1: A YOUNG FEMALE AT A FESTIVAL

Emma comes to the music festival alone. It is very hot. She is wearing shorts and a top, and carrying a small backpack with extra clothes and other stuff. She gets a wristband at the gate and continues to the security check. The male security guy says that he is going to do a body search for security reasons. He touches Emma’s bare thighs, and Emma feels humiliated but does not know what to do. He also makes comments on her looks and appearance. When entering the area, Emma tries to forget what happened and heads for the gig of her favourite band. She gets a place in the front row, along with other fans. When the band starts to play, there are lots of people. Someone grabs her butt, but when she looks back, she cannot say who it was. The gig was awesome, and she enjoyed seeing her favourite band live. After the gig, she by chance meets some of her friends and decides to stay with them.

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SCENARIO 2: A GAY COUPLE IN A GIG

Kevin and Timmy are a gay couple. They go to a gig together. Outside the venue, in the queue, they hold each other’s hands and some people behind them make nasty comments about them. The security guy at the door grins and lets them in, saying, “Welcome, ladies”. When the gig starts, they do not want to go to the front and stay somewhere in the middle. Then, suddenly they are surrounded by a mosh pit full of running and pushing people. Someone falls on them and accidentally hits Kevin in his face. He is bleeding and Timmy takes him to the toilets to wash the blood away. They leave before the gig ends.

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SCENARIO 3: A PERSON WITH REDUCED MOBILITY AT A FESTIVAL

Hayden must use a wheelchair because of their progressing disease. They are not paralysed, and their doctor had advised them to get up every now and then, to help the blood circulation and ease the muscle pain. Hayden goes to a festival with their personal assistant. Everything goes fine since they have a recognised disability card that also says that they need a personal assistant. Hayden had to pay for one ticket only, as it should be. There is a viewing platform for those in wheelchairs. The assistant helps Hayden to the viewing platform with the wheelchair. After a while, Hayden has to stand up to stretch their legs. People beside the platform start to comment, “What? You are a fake!”, “You have just taken your friend in, free of charge. How could you?” It is no use to try to explain it to them, and Hayden feels that they do not have any obligation to do so either. The nearby security guy comes to the platform and asks what they are doing there. Hayden shows him the disability card and the security person disappears, apologising, but says nothing to the people who are still commenting, even though Hayden is now sitting in the wheelchair.

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SCENARIO 4: A BLIND FEMALE AT A FESTIVAL

Olivia has been blind since birth. She copes very well independently at her home and in the neighbourhood, but when going to events she needs a personal assistant. She goes to a festival with her assistant. At the gate, it takes time to find a person who lets them both in with one ticket. For the shows, they stay a bit farther away from the stage, since Olivia does not feel too secure to be in the middle of the crowd with her white cane. After the first gig ends, they head for the toilets. Since the Portaloos at the festival area are quite small, they decide to use the accessible toilet. There is a festival volunteer taking care that only those who are entitled to use this toilet can enter. Otherwise, it would soon be full, filthy and unusable. When seeing Olivia and her assistant, the volunteer is puzzled and talks to the assistant, not to Olivia: “I thought that these loos were for wheelchair users only”. Olivia explains that she needs the assistant also inside the toilet since she does not want to get dirty, and she does not know where everything is and how the toilet functions. The volunteer looks again at the assistant and answers to her (not to Olivia): “Ok, you may go in”.

References /​Further Reading Bows, H., King, H., & Measham, F. (2023). Perceptions of safety and experiences of gender-​ based violence at UK music festivals. Journal of Gender-​Based Violence, 7(1), 74–​92. https://​doi.org/​10.1332/​23986​8021​X164​3911​1624​553 Fileborn, B., Wadds, P., & Tomsen, S. (2020). Sexual harassment and violence at Australian music festivals: Reporting practices and experiences of festival attendees. Australian & New Zealand Journal of Criminology, 53(2), 194–​212. https://​doi.org/​10.1177/​00048​ 6582​0903​777 Hill, R., & Megson, M. (2020b). In defence of safer spaces: Punk, privilege and safer spaces policies. Punk & Post-​Punk, 9(1), 59–​76. https://​doi.org/​10.1386/​punk_​0001​8_​1

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Hill, R. L., & Megson, M. (2020a). Sexual violence and gender equality in grassroots music venues: How to facilitate change. IASPM Journal, 10(1), 3–​21. https://​iaspm​jour​nal.net/​ index.php/​IASPM_​Jour​nal/​arti​cle/​view/​991 Pernecky, T., Abdat, S., Brostroem, B., Mikaere, D., & Paovale, H. (2019). Sexual harassment and violence at events and festivals: A student perspective. Event Management, 23(6), 855–​870. https://​doi.org/​10.3727/​15259​9518​X154​0385​3721​277

Case 16 THE FUTURE OF EVENTS How artificial intelligence can play a role Judith Mair and Jason Brown

Learning objectives

Following completion of this case, students will be able to: • comprehend the nature of and rationale for scenario planning; • develop a future scenario for an event; and • communicate the changes brought by technology (specifically artificial intelligence) in the context of an event. Duration

This case study is flexible and can be run in a variety of ways. The first part of the case study can be completed independently or can be the forerunner to the second part. The first part of the case can be completed in one class (1 hour), or the full case study can be completed in one two-​hour class, or as two separate consecutive activities (2 hours in total). Target audience

This case is most suitable for group work, and as it does not require prior extensive knowledge of any particular aspects of event management, is suitable for those studying at any level (undergraduate or postgraduate). The case is designed to be flexible so that it can be completed regardless of which new technologies are current or predicted –​ although the case relates to artificial intelligence (AI), no specific details are provided on what software or hardware is being used.

DOI: 10.4324/9781003390381-16

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Teaching methods and equipment

No specific equipment is required for this case except access to the internet. The case involves group work and therefore for in-​person classes, access to whiteboards or similar collaborative tools is required. The case also works for online teaching, with a preference for access to online collaborative tools –​ examples would be Google Drive (or other online shared drive) documents, Zoom whiteboards or Miro boards (a free online program that is user-​friendly and works well for online group work). However, online students can work without these collaborative tools if needed, and simply use Share Screen options available in Zoom, Teams and other online meetings and communication platforms. For stage 2, the case requires students to create an infographic. Free infographic software is available (for example, Canva); however, students can also create simple infographics in Microsoft Word or PowerPoint. Teaching instructions

This case has two main stages. These can be completed in the same session (2 hours) or can follow each other in 2 x one-​hour sessions. If preferred, stage 1 can be completed without continuing to stage 2; however, stage 2 cannot be completed without first completing stage 1. The stages are scenario planning and infographic preparation. Stage 1: Scenario planning (60 minutes)

Part 1: Students are encouraged to read the case in advance, but as the text is relatively short, this can be accommodated within the class time if required (10 minutes) Part 2: The teacher or facilitator should initially provide an overview to how scenario planning works (based on the information in the ‘Background for Teachers’ section) and encourage students to start thinking creatively and using their imaginations about what their location/​region/​society will look and feel like in the future (20 minutes). Part 3: Students work in groups to consider a future scenario for the Town and Village Music Festival. The definition of ‘future’ is flexible here but a 5-​to 10-​year horizon is recommended so that students feel able to envision the contents of the scenario without too much difficulty. Students should take into consideration the following megatrends: • • • •

Environmental/​Climate changes Socio-​demographic/​societal changes Political/​geopolitical changes Technological changes

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Teachers can elect to allocate individual megatrends to a specific group (e.g. one group of students focuses on environmental change; another group focuses on technological changes etc.) or can allow each group to consider all the megatrends (30 minutes). At the end of this stage, students should have completed a brief scenario on how they envision the megatrends will influence the Town and Village Music Festival. The Town and Village Music Festival is entirely fictional, and the name is intended to allow flexibility in how it is defined. Teachers can elect to provide students with parameters for the Town and Village Music Festival (e.g. size, duration, attendee profile etc.), or students can be asked to imagine their own version of the Town and Village Music Festival. Stage 2: Infographic preparation (60 minutes)

Part 1: Using the scenario and notes developed in Stage 1, and still working in groups, students will now be asked to prepare an infographic detailing how, in the future scenario they have envisioned, AI will affect the Town and Village Music Festival in 5 to 10 years’ time (45 minutes). Examples of potential uses of AI that students could consider include: • Facial recognition for entry into the festival and other services such as payments; • Personalisation of the experience via an AI-​driven event app, for example, recommendations; • Wearable devices that track vital signs (cardiac rhythm, blood pressure, hydration levels); • Assisted waste separation (where waste bins have cameras that recognise the type of waste and aid the user to put the waste in the correct bin); • Language translation; • Computer vision for crowd management; • Computer vision for sentiment analysis; • Automatic analysis of social media posts for sentiment analysis; • Intelligent directions, for example, to find available parking or to avoid crowd hotspots; and • Generative AI, for example, text, images, video, audio for entertainment purposes. Note that the quality of the infographic itself is not important; rather, the idea is to get students to use their imagination and creativity to think about how AI will revolutionise event management in future. Part 2: Students should share their infographics with their classmates and reflect on the variety of scenarios and uses of AI that have been identified (15 minutes).

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Background for teachers

Scenario planning is one variety of future study that has been gaining prominence over the past decade or so. A scenario is an imaginary description of possible future events, actions or situations. It differs from forecasting in the sense that forecasting the future is generally considered to be an attempt to predict, as accurately as possible, future events based on historical trends. Scenario planning does not necessarily consider historical trends; instead, it relies on examination of current micro and macro trends to construct a narrative about how a possible future may look, with the intention of designing strategies, courses of action or interventions to maximise future potential. As Chermack and Van de Ven (2011, p. 21) point out: ‘uncertainty is not a new problem, but the degree of uncertainty and the effects of unanticipated outcomes are unprecedented’. There are several important points to bear in mind when constructing a scenario. Firstly, there are no certain facts about what will happen in the future, only best guesses and likelihoods. Scenarios can help to envisage the conditions in which we will be living in the future but are not intended to be fully accurate –​ they are a story about one possible future. Secondly, as the future is not predictable, this implies that we have choices. Therefore, imagining a range of possible future scenarios allows us to consider which of the conceivable futures would be preferable to us, thus allowing us to make changes in the present and create a greater likelihood of reaching a future state that is beneficial. There are four major outcomes of scenario planning –​ changed thinking; informed narratives about possible/​plausible futures; improved decision-​making about the future; and enhanced human and organisational learning and imagination (Chermack & Van de Ven, 2011). Constructing scenarios requires consideration of a range of current trends. For the purposes of this case, students are asked to envisage scenarios based on megatrends. Megatrends are trends that have an effect on a global scale. Examples of megatrends for students to consider include: Technological changes –​ these are many and varied but in the events context, virtual/​ extended reality, AI and metaverse technologies are likely to be very important. Socio-​demographic changes –​ any changes to society will have an impact on events because societal change will be reflected in the demographics and psychographics of event attendees. Specific things to include are global population growth; health & aging; urbanisation; generational shifts; lifestyle changes; and consumption preferences Environmental changes –​ this includes climate change; resource depletion; biodiversity loss; pollution; and increased natural hazard risks. Scenarios should be written in the form of a story. Flexibility and adaptation are suggested, to allow for customising the scenario to specific locations, future horizons and/​or specific megatrends.

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Artificial Intelligence –​ this refers to the ability of machines to understand, analyse and/​or generate specific information in an intelligent manner just as humans can do (and in some cases better than humans can do). It includes technologies such as: • computer vision (e.g. recognising objects in video feeds, identifying people via facial recognition, understanding sentiment through body language and facial expression); • recommendation systems (e.g. recommending movies to watch based upon previous viewing history); • natural language processing (e.g. grammar checking, summarising, chatbots); and • analysis of sensor data (e.g. body sensors, temperature sensors, light sensors) and action generation. There are some valid concerns about using AI, primarily relating to the security and privacy of the data that is collected and used by AI. For example, if facial recognition is used, how does the company or organisation using this technology source the initial images for computer vision? Who owns these images and where are they stored? In the case of wearable devices that collect data on the health of the wearer, who owns this data and where is it stored? What happens in the event of a cybersecurity breach? Is there a likelihood of bias within AI –​perhaps on the grounds of race or ethnicity, gender, religion or political views? Students are not expected to be able to answer these questions, but they are encouraged to at least reflect on these concerns. Possible mitigation measures include strict data privacy policies, cybersecurity procedures and tools (e.g. to encrypt data), and a permissions framework where attendees can choose to opt in or out of any service that requires individualised data to be collected and/​or used. Case

Your artificial intelligence (AI) personal assistant, which has been monitoring your sleep rhythms overnight, wakes you at the best possible time to ensure you are refreshed and ready for the day. Since the most recent upgrade, your AI personal assistant can now predict accurately your mood upon waking and notes that today, some soothing classical music will be the best way for you to gently wake up. It knows that today will be stressful because today is the first day of the Town and Village Music Festival, and you are the festival organiser. You know that everything has been planned to the last detail and that the AI will take care of things. After the flooding of previous years and the increasing risk of severe weather as the climate changes, the festival will now be taking place in a brand-​new venue. The festival venue is equipped with cameras to allow many types of innovative computer vision applications, assistance and entertainment kiosks for generative AI applications, and sensors to facilitate intelligent applications. These

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include using facial recognition for festival entry, and for purchases made in the festival venue; sensors or computer vision for crowd management that identify crowding hotspots and direct attendees to avoid these areas; wearable wristbands that monitor the health of attendees and summon first aid help before the attendee even realises that they are unwell; sentiment analysis drawn from computer vision of the crowd that can inform you if the mood of the crowd changes; and notifications when bins are nearly full, when traffic is building up and when queues get beyond the length you consider acceptable. But, the Town and Village Music Festival has been taking place for over 20 years now and many of the patrons are very regular attendees, coming along every year. You have got to know some of them well over the years and you recognise that the traditional nature of the festival is what keeps them coming back. The demographics of the festival attendees match well with the pattern of ageing in the population, and the rising numbers of health concerns for these older people. Most of them are aged 60 plus, and many have some physical limitations (some have hearing loss, some are visually impaired, and some have mobility issues). They are not afraid of new technology, but many are quite challenged by it and given the high-​tech nature of the new venue, many attendees might feel overwhelmed. Given all the technological, socio-​demographic and environmental changes the world is going through, and the recent negative publicity about how AI is taking over our lives, you are determined that attendees at the Town and Village Music Festival should be able to just relax and enjoy the spectacle and experience. You want to develop some information for your website and event app that attendees can use to understand why you have incorporated so much AI into the event design. Stage 1

Imagine what the world will be like in 2030 and beyond. In doing so, speculate on the following: • Changes in technology (virtual /​extended reality, metaverse, AI); • Socio-​demographic changes (population growth, health ageing, urbanisation, lifestyle changes); • Environmental changes (climate change, biodiversity loss, pollution, natural hazards such as bushfires and flood). Create a brief scenario (no more than two paragraphs) which captures your vision for the world of 2030. Stage 2

Consider the following questions in light of the scenario you have prepared above and create an infographic for Town and Village Music Festival website and app

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that highlights the benefits of AI at the festival and addresses the concerns of some attendees. 1. What are the possible financial/​economic benefits, sociocultural benefits and environmental benefits of using AI for the Town and Village Music Festival? 2. What are the possible benefits for attendees of having AI at the Town and Village Music Festival? 3. What are some of the concerns that people may have about using AI at the Town and Village Music Festival? 4. How might you address some of these concerns? References /​Further Reading Chermack, T. J. (2011). Scenario Planning in Organizations: How to Create, Use, and Assess Scenarios. San Francisco: Berrett-​Koehler. Miller, T. (2019). Explanation in artificial intelligence: Insights from the social sciences. Artificial Intelligence, 267, 1–​38.

Case 17 THE BEST OF BOTH WORLDS Hybrid festivals and inclusivity Enya Moore and Bernadette Quinn

Learning objectives

Upon completion of the case, participants will be able to: • establish criteria for creating a hybrid music festival which foregrounds the importance of accessibility, inclusion and equity; • evaluate digital hosting platforms available for use; • decide which is the best platform to use for a hybrid event; • consider the pros and cons of different digital platforms in respect of how they can promote or hinder access, inclusion and equity goals, and; • develop criteria for choosing a platform for a hybrid music festival that foregrounds accessibility, inclusion and equity in its presentation of both visual and textual content. Duration

This case is designed for flexible execution. It can be used as the basis for 2 x 2-​ hour classes with a take-​home group assignment. Tutorial 1: Festivals and Inclusivity (Phase 1: Discussion; Phase 2: Mind Mapping) Tutorial 2: Festival Audiences +​Digital Platforms (Phase 1: Discussion; Phase 2: Mind Mapping) Group Assignment: Elevator Pitch on digital platforms and hybrid festivals.

DOI: 10.4324/9781003390381-17

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Target audience

This case will work well for final-​year undergraduate and taught postgraduate students studying event management /​cultural event management. It combines individual and group work. It does not require any specific background knowledge. Teaching methods and equipment

This lesson can be delivered in-​person or online. In person Each tutorial: Plain A3 paper (1–​2 sheets per group of 3 students), Plain A4 paper (1sheet per student), markers /​pens /​pencils (if students do not have their own). Online Use Zoom (and enable the whiteboard function for brainstorming) or Miro (free online programme that is user-​friendly and helpful for working in groups online). Teaching instructions

Tutorial 1: Festival Audiences and Inclusivity (Phase 1: Discussion; Phase 2: Mind Mapping) Phase 1: Discussion Step 1: Write, Pair, Share (30 minutes)

Write, pair, share is a simple three-​step process for generating ideas, discussing and sharing with the wider group. It is also a helpful tool for developing students’ confidence in sharing their ideas as they share in pairs first, before sharing with the whole group. 1. [Write] Each student gets an A4 sheet of paper and answers the following questions: a. Describe 1 or 2 experiences of attending a festival or event (e.g. location, type of festival, duration etc.); b. Consider a festival experience that made you feel particularly comfortable /​at ease and one that made you feel uncomfortable or as if you did not belong. List some of the elements that contributed to that experience (e.g. people, format etc.). 2. [Pair] Each student pairs with the person beside them and they take turns reading out their answers to each other. Are there similarities or differences in examples of positive festival experiences? Together, students should decide on the most interesting findings from their discussion. Students decide together who will report back to the class.

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3. [Share] The lecturer /​ facilitator asks each pair to share their findings with the class and writes these on the board /​on a shared platform. Through this process, the group co-​create ideas about what makes positive festival experiences. Step 2: Concept Overview (15 minutes)

The lecturer /​facilitator spends 15 minutes setting up the context with an overview of the concepts of ‘creating inclusive festival experience’ and introduces students to concepts and understanding around ‘accessibility/​inclusion/​equity’, while also drawing upon some of the answers generated in Step 1. Phase 2: Mind mapping Step 1: Group mind mapping (40 minutes)

Mind mapping is a simple three-​step process for generating ideas from a central theme. It is also a helpful tool for getting students to focus on a theme and consider all the ideas that radiate out from that theme. Students should form groups of 2–​3 people. Each group should have an A3 piece of paper and a marker/​pen. If the class is online, students can work directly onto a shared platform (such as Whiteboard in Teams or on Zoom). Students are expected to work on the following tasks: • Using mind mapping of barriers to access, inclusion and equity, ask questions of each other, such as what barriers people might experience in attending a festival in person (consider geographical location, economic obstacles, safety, accessibility, health, risk etc.); and • Building on the initial mind map of barriers to inclusion, consider elements of a festival that might help overcome these barriers. Step 3: Sharing findings (20 minutes)

Each group should lay their mind map on a table in the centre of the room. A spokesperson from each group should explain to the rest of the class the three most important insights they gained from the mapping process. Tutorial 2: Hybrid Festivals +​ Digital Platforms (Phase 1: Recap +​ Intro, Phase 2: Mind Mapping, Phase 3: Evaluating Digital /​Online Platforms) Phase 1: Recap and intro (15 minutes)

The lecturer /​facilitator recaps previous tutorials on festivals and inclusivity (which mostly focused on in-​person encounters) and explains that this tutorial will focus on considering hybrid festivals and evaluating which digital platforms would

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best serve a hybrid festival that aims to prioritise inclusive practices. The lecturer should refer to key learnings from last tutorial and point towards relevant literature. Phase 2: Mind mapping of festival case study (30 minutes)

In groups of 2–​3 people (can be same as the last tutorial), read the following case study and produce a mind map using guiding questions. Phase 3: Identifying digital/​online platforms for hybrid festival (30 minutes)

Having brainstormed how elements of the case study festival could be represented in an online environment, the challenge now is to decide which digital platforms might be most suitable for the hybrid festival. Working individually for 5 minutes, students should consider the following questions: 1. Which platforms do you engage with online most frequently (Consider social media platforms, streaming platforms etc.) and why? 2. Which platforms do your parents /​other older people you know engage with most frequently? Which platforms do you know other people engage with, but you do not? Why and why not do you /​other people use these platforms? 3. Which online platforms have you used when attending events (events could be festivals, concerts, webinars, tutorials, presentations etc.)? Working in groups of 2–​3, each student takes turns reading out their answers to each other. What are the main reasons for different groups of people using particular platforms? Students decide together who will report back to the class. (10 minutes) The lecturer /​ facilitator asks each group to share their findings with the class and writes these on the board /​on a shared platform. Through this process, the group co-creates a list of available platforms and reasons why different cohorts select particular ones. (15 minutes) Phase 4: Develop criteria for selecting an online platform for your case study (20 minutes)

Working in groups of 2–​3, students now need to produce a list of at least 5 criteria that a platform should meet to be considered for their festival case study. Criteria could include elements such as: Functionality, Accessibility, Privacy, Cost, Safety and so on. This discussion should demonstrate to students the complexity involved in seemingly ‘obvious’ choices around choosing platforms. Again working in their groups, students should return to the co-​created list of online /​digital platforms in Phase 3. These will likely include social media platforms like Facebook, Facebook Live, Instagram, Instagram Live, YouTube,

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Vimeo, Zoom, Teams etc.) and consider which platforms might be appropriate for the hybrid festival described in the case study. They should select one platform they think suits the needs of the hybrid festival and evaluate it against their list of criteria. For example, one of the criteria might be that the hybrid festival must be accessible for audience members who have impaired hearing. This would mean that a function like closed captions is important. Does the platform selected enable the use of closed captions? Someone in the group should take notes on the discussions. Take-​home group assignment: 2-​minute elevator pitch

Each group should prepare a 2-​minute elevator pitch to share their chosen platform with the rest of the class. This should be accompanied by just one slide (this could be an image that evokes the online environment they are trying to create, a slide demonstrating their criteria, or their mind map). The presentation should outline their reasoning for their platform choice. This can be delivered in class in the next tutorial, or it can be submitted as a slide with an audio recording. Break suggestions

In tutorial 1, a 10-​minute break between Phase 1 and Phase 2; and in tutorial 2, a 10-​minute break between Phase 2 and Phase 3 can be considered by instructors. Case Community-​run, hybrid, rural jazz festival

You are the organiser of a small, community-​run folk jazz festival in a rural part of the country where you live. The festival is in a town with a population of 4,500 and has been running for 20 years. Since the beginning of the Covid-​19 pandemic, you have been implementing digital elements in your festival programming. Some of these have been successful, others, not so much. Moving forward, you wish to run your festival in a hybrid format. You are interested in bringing elements of the festival ‘experience’ online and want to create something novel and engaging for those attending both in person and online. It is important that the festival be inclusive and accessible for all the people who live locally. The local community has many active community groups such as the residents of a local care home, sports clubs, a family resource centre, a tidy towns committee, a community centre for asylum seekers and a youth club. Using a mind map –​this can be on paper or digital (Teams /​Zoom Whiteboard) –​ start mapping elements of the festival and brainstorm how they might be represented in an online environment. Keep in mind the context of your festival. It is a small community-​run festival, it is not, for example, Glastonbury; therefore, funds and resources may /​may not be limited.

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The following questions may help guide you: 1. 2. 3. 4.

Who is your festival audience? What do you want the festival audience in-​person to experience? What do you want the festival audience online to experience? What are the overlaps and disparities in the experiences of the in-​person and online participants? 5. Do you want the in-​person and online participants to interact with each other? 6. What resources will your hybrid event require (specialist knowledge /​ skills /​ professionals? Paid platforms, additional customer /​audience support, additional instructions for audience or participants, more time, more money?

References /​Further Reading Griffin, N. (2022). Postcards depict how those most vulnerable to Covid are being forgotten in re-​opening, Irish Examiner, www.irishe​xami​ner.com/​news/​arid-​40946​216.html. Access Date: 15 September 2022. Morris, S. (2022), RTE, www.rte.ie/​bra​inst​orm/​2022/​0908/​1321​373-​digi​tal-​eve​nts-​onl​ine-​ festiv​als-​virt​ual-​cult​ure-​pande​mic/​. Access Date: 11 September 2022. Quinn, B. et al. (2020). Festivals, public space and cultural inclusion: Public policy insights, Journal of Sustainable Tourism, December 2020. https://​doi.org/​10.1080/​09669​ 582.2020.185​809

Case 18 BIDDING FOR THE WORLD TENNIS CHAMPIONSHIP Demet Ceylan

Learning objectives

Upon completing the case, students will be able to: • identify interrelated event planning criteria by reviewing hotel fact sheets and master tournament event fact sheets; • evaluate competitive advantages of infrastructure and key personnel in event bidding; and • understand the pre-​hosting process of event bidding. Duration

The case lasts around 75–​90 minutes, and can be extended according to the number of hotel teams created. Target audience

This case emphasises the multi-​criteria involved in organising international events in multiple phases: pre-​application, nomination, post-​nomination and operation. The case is applicable to all students, from undergraduates to PhD candidates, sector practitioners for sports tourism, and worldwide event managers. The suggested number of students for efficient discussion is a minimum of 3 students for each team –​ that is, International Tennis Federation (FED) and hosting hotel (HOTEL) teams, in a class size ranging from 6 to 12. For larger classes, more than one HOTEL team can be created so that the bidding proposals of the teams can be compared. If the class size is not adequate to establish two separate teams, the DOI: 10.4324/9781003390381-18

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discussion questions can be used for a brainstorming session, and the instructor can limit the number of questions to be raised according to the preferred learning outcomes to be achieved. Teaching methods and equipment

Dividing students into two teams representing the International Tennis Federation (FED) and the hosting hotel (HOTEL) for role-​play is recommended. Individual brainstorming can also be carried out for this case based on discussion questions. If teams can be created, the HOTEL team is expected to present its bidding proposal to the FED team; hence, a class equipped with a computer and a projector is recommended. It is also recommended that students review a number of documents prior to the execution of the case study in class. The web links of these documents are shown in References/​Further Reading: • 2023 ITF World Tennis Masters Tour World Individual Championships (30+​, 35+​, 40+​, 45+​, 50+​) • ITF World Tennis Masters Tour 30, 35, 40, 45, 50 World Individual Championships 2023 Event Fact Sheet • Participating teams • Ali Bey Resort, Sorgun Court Layout • Ali Bey Club, Manavgat Court Layout Teaching instructions Step 1

The instructor should: 1. Divide the class into two teams: the FED team –​ federation representatives, very demanding versus the HOTEL team –​candidate host hotel representatives, confident about service and court quality; 2. Share all of the above-​mentioned documents’ links for review prior to the execution of the case study and inform the teams that they should come to class prepared; 3. Distribute the case handouts to the teams. The case section consists of three parts. The initial informative text on the World Tennis Championship is followed by two sections titled FED INFO and HOTEL INFO. While the informative text is shared with both groups, each team should then only be handed the sections titled accordingly. In other words, while the FED team is given the information specifically addressed to them, FED INFO, the HOTEL team receives HOTEL INFO.

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Step 2

At this stage, the teams first read the case and are assigned the tasks respectively. The initial task of the HOTEL team should be to decide on a destination where their hotel is located. Once the location decision is made, they then need to think about their imaginary hotel’s facilities and competitive advantages, which would make the venue an ideal host of the next International World Individual Championship. The FED team should also be informed on where the hotel is located, while details on the facilities and services of the hotel should be left to the presentation stage, during which the FED team can question the suitability of the venue and the destination, while the HOTEL team should try to convince the FED team on the hotel’s preparedness to host the event. The second task of the HOTEL team is, therefore, to prepare a bidding proposal containing all the information required in hosting the championship. While the HOTEL team works on how best to present the establishment as the next host, the FED team works on what criteria the hotel should be assessed as a potential host. At this stage, the teams should specifically concentrate on the following questions, which can be used for an individual brainstorming session if the class size does not permit establishing teams: • Will the hotel be able to accommodate the needs and expectations of different age groups participating in the championship? What are the services available to meet such needs of different age groups? Which age group is the focus of this event? What is the total bed/​room capacity of the hotel? Hint for instructors: The previous championships indicate that the highest number of participants compete in the 50–​55 age group. Due to the high number of participants in this group, the federation pays extra attention to accommodating this specific age group in the same establishment, and to not dividing them into groups, where each group can be accommodated by separate units of the same establishment. • What is the number of courts? How many courts are needed for the effective and smooth organisation of the event during the duration of the event? What is the condition of the courts? According to the court capacity, what are the target participant numbers to be attracted in each age group? Hint for instructors: The required number of courts depends on the particular climate conditions of the destination. First, the duration of daylight during the month of the event hosting needs to be considered. Second, if temperature rises to a high level at noon, a midday break needs to be taken into account. In light of this information, any court can usually accommodate around 8 to 10 matches a day. Here, the HOTEL team should consider how many participants they are targeting in each age group, and whether there are enough

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courts to ensure that all matches can be played within the timeline of the championship –​that is, 7 to 8 days. For example, if there are 16 participants in one age group, then there is a need for 8 courts (16 participants paired as competitors) in the first round, 4 courts in the second round, 2 courts in the semi-​final, and 1 court in the final. Moreover, the teams should also pay attention to ensuring that one participant is not scheduled for more than one game on any given day. Participants also require courts for practice sessions, which makes the early days of the championship hectic and busy. • How is the accessibility of the destination? What are the other tourist attractions and facilities existing in the destination? What is the potential of the destination to attract audiences to the matches? Does the championship coincide with the high or low tourist season of the destination? Hint for instructors: Since the championship is an international event, the HOTEL team should ideally select a destination with alternative international transportation connections –​that is, an international airport, a destination with accessibility supported by rail, road and sea transportation networks, as well as good public transportation within the destination. Regarding the potential of the destination in attracting audience, the HOTEL team is expected to refer to both the current population and previous tourist statistics. The popularity of the destination in international tourism markets would be expected to help promote the championship. Whether the championship takes place during high or low tourist season may have both advantages and disadvantages. While the high season may guarantee a high number of audience members, it could be easier to accommodate those travelling to the destination solely to experience the championship during the low season. Here, the assessment should focus on whether or not the HOTEL team has considered such factors when preparing their bidding proposal. • Are there potential local sponsors in the destination? Is the National Tennis Federation in support of the championship being hosted at this specific hotel establishment and in the destination selected? Hint for instructors: As a general rule, the bidding proposal should include a letter of support from the National Tennis Federation, which would then help the organising establishment with the appointment of key personnel including board members, athletes, referees and volunteers to take an active role in the championship. Although the HOTEL team is not expected to prepare such a letter, mentioning such support during their presentation would indicate that they have considered the importance of public authority involvement and hence would strengthen their bid. The existence of tennis-​ or sports-​ related local and national companies, famous tennis players, previous event hosting experience, and the well-​known brands associated with the destination and/​or the country as potential sponsors would enhance

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both the marketability of the event and the financial credibility of the hotel and the destination as hosts. In this phase, both teams are also expected to consider the PESTLE analysis of the destination as a potential host of an international event. Political, economic, social, technological, ecological, legal and ethical strengths and weaknesses experienced by the destination in the past can be used to assess the risk of cancellation. As the championship host decision and other planning tasks start 12 to 18 months prior to the event, it is important to understand the vulnerability of the event due to destination-​related opportunities and threats. • In comparison to the previous host hotel, what are the unique services and facilities that a new candidate hotel has? Does it have previous events experience? What about the hotel personnel? Are they qualified to offer quality service both in accommodation units and in sports complexes? Are there any weaknesses of the hotel which would risk its candidacy as an international event host? If so, how will they be mitigated? Hint for instructors: It should be noted again that the candidate hotel is an imaginary one. Therefore, the HOTEL team can present the services and facilities of the hotel in any way they are happy with. However, instead of a recently built establishment with no previous experience in organising such an international event, a well-​established hotel company with good-​ quality facilities and experienced personnel should be preferred. The FED team should especially question the know-​how of the hotel company in event organisation, and more specifically in sports tournaments. A special divisions established within the organisation responsible for event organisation and management of tennis facilities with a number of qualified personnel should be highlighted in the bidding presentation. Since the championship is an international event, the language skills of personnel also play an important role. The HOTEL team may opt for an exotic destination in order to increase the possibility of winning. However, while an exotic destination may have a natural charm, the language may become a burden in communication between international guests and personnel. Moreover, the previous host’s service system in the form of 24/​7 all-​inclusive service delivery has proven to be successful and has been seen to reduce stress and anxiety among athletes, whose main concern was to concentrate on their matches. In this system, guests can benefit from the pre-​paid 24/​7 service delivery in food and beverages as well as in fitness and massage services. The tennis courts, in the meantime, were only available for use according to the initially announced tournament schedule. The issues to be considered in organising and planning an international sport championship are clearly not limited to the above questions. These questions chosen for the implementation of this case encompass some of the main factors to

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be considered by both bidders and the host selection committee. Time permitting, instructors can encourage students to elaborate on further issues such as event legacies, events sustainability, marketing activities, social media use, media relations, risk assessment and an event crisis plan. Such factors may also be considered by the teams in their bidding proposals. The discussion can be shaped according to the diversity of factors touched upon by both teams. Step 3

Following the case, documents highlighting each team’s tasks are distributed to the class. The teams should be given some time to prepare for the presentation and Q&A session. This phase starts with the HOTEL team presenting their bid proposal. The presentation should last no more than 15 to 20 minutes, which will then be followed by the Q&A session, during which the FED team raises questions to assess the hotel’s suitability as a host, while the HOTEL team attempts to strengthen their proposal with accurate and consistent answers. Following the completion of the case, instructors can summarise the main lessons learned from the application of the case. Case Background to the ITF World Individual Championship

The International Tennis Federation (ITF) World Tennis Masters Tour for World Individual Championships 2023 is an annually held event, which usually lasts around 7 to 8 days. The championship attracts tennis players from around the world to compete in Men’s & Women’s 30, 35, 40, 45, 50 age groups, which are then further divided into Singles, Doubles, Mixed Doubles and Singles Consolation categories. In the last championship held in Antalya, Türkiye, the event attracted more than 600 tennis players from 82 countries. The host of the previous championship was a holiday resort hotel, Ali Bey Club, located in Antalya, Türkiye, with a bed capacity of 1,750 and 54 clay tennis courts. There are also different surface courts and paddle tennis facilities available in the resort. As a part of a local hotel chain, the resort benefits from a nearby branch of the chain, Ali Bey Resort, with a 1,050-​bed capacity located in Sorgun –​that is, 11km to the west of Ali Bey Club, and with another 34 clay tennis courts. There is free shuttle transportation for staying guests and their accompanying friends between the establishments. Both resorts are highly reputable with service excellency. While Ali Bey Club has been in operation for over 30 years, a relatively newer Ali Bey Resort was opened 11 years ago. Both facilities are seasonally operated from March to November, and they target mainly tennis clubs, professional players, tournaments and championships as well as those amateur players who would

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like to play tennis during holiday. The establishments also attract national and international guests, who come solely for 3S holidays. Both establishments are operated on an all-​inclusive system, meaning pre-​paid fees cover accommodation, all meals and drinks, and the use of tennis courts and other fitness facilities in the resorts. Ali Bey Club applied to host the 2022 World Individual Championship with the support of the Turkish Tennis Federation, and was selected as the host venue by the ITF, 12 months prior to the event. During the bidding process, the ITF especially pays attention to the availability and current condition of certain facilities and services at a candidate venue, among which the most important technical criteria include court surface type and quality, 24/​ 7 physiotherapist service, on-​ court treatment, racket string tension measurement, and alignment machines as well as key personnel knowledgeable in tennis and organising sports tournaments. Other than such technical requirements, the federation also assesses candidates on a number of other criteria, including accommodation capacity, accessibility, quality of food and beverage products, the destination where the venue is located. and the financial readiness of the venue to host such a major event. While the championship coincides with the months of March and April every year, candidates are often given freedom to offer 4 alternatives of two-​week periods within these months to schedule the event, but are expected to justify their decision with sound and accurate reasoning. While one week is scheduled for the event itself, the other week is allocated to arrival/​departure of teams and pre-​tournament practices and preparation. During the bidding process, when a destination and a venue are nominated as a candidate host, the national tennis federation is informed to facilitate further communication and coordination with the ITF. While the venue is responsible for providing accommodation pricing quotations for teams, tennis players and accompanying persons, it should also refer to other accommodation opportunities available in the destination selected for spectators and media. Once the ITF receives all candidate bid proposals, it then forwards them to its Board. The Board of Directors first goes through the proposals, and then organises meetings and/​or field trips to assess the credibility and capacity of candidate venues before voting for the next host. Info for the FED team

As the members of the ITF Board, your task is to decide on the destination and venue-​related criteria to be used during the assessment of a candidate’s bid. Using the above-​mentioned information and the web pages shared with you prior to class, you should discuss and establish a criteria list as a team and get prepared for the candidate’s presentation.

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Before finalising the criteria list, please consider the following issues: • The number of participating countries and tennis clubs determines the need for an accommodation capacity. Referring to the previous year’s figures, you can expect the number of teams and players to increase at a certain ratio, but can also question whether the candidate destination has the ability to attract such a high number of participants and their accompanying friends/​families. • It is important to consider all age groups taking part in the championship, and their varying needs and expectations from the host venue. The board should pay attention to the variety of services and facilities available in the host venue, and should prioritise what services and facilities are must, and which ones can be accommodated by service providers other than the host venue. • The know-​ how of the candidate in organising sports tournaments and international championships is an important factor. The Board should consider whether the history of previous events organised by the candidate can be the sole criterion in assessment, or whether more detailed information about these past events and their success should be provided. • The ITF aims to provide the best weather, court and accommodation conditions for world-​ class players with the best possible physiotherapy treatment available and the best possible technical equipment and personnel present on-​ site. As the board members, you should specify how you will ensure all these criteria are met by the candidate by preparing detailed assessment questions and making estimations based on potential participant numbers and their expected needs. • Participating players staying at the official hotel are not only provided with logistics for practice and matches, but should also be offered a comfortable stay allowing them to concentrate on tennis without any distractions. Staying at the official hotel offers networking opportunities with other players, coaches, team sponsors and tennis equipment producers. As with the ITF, players also make long-​term plans with regards to which tournaments to participate in and make relevant sponsorship agreements in advance. This often requires the championship location to be announced at least 6 months prior to the event. Most players decide on participation in a specific tournament according to the suggestion of their local federation and/​or sponsor recommendation. Info for the HOTEL team

As the representatives of a hotel establishment, your task is to prepare a bid presentation to host the next championship. Your hotel can be an imaginary one, so you can equip it with any service and facility package you wish. However, you should make sure that these services and facilities would meet with the criteria of a host venue, and that they are logically and sensibly determined.

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When preparing your bid proposal, please consider the following issues; • Before presenting your proposal, you should inform the FED team in which destination your hotel is located, so that the FED team can also work on the destination-​related criteria during assessment. Such criteria would extend from the popularity of the destination selected to the main tourism seasons, and from its accessibility to its price competitiveness. You should consider both the destination’s and your hotel’s strengths and weaknesses, and address these issues accordingly in your presentation. • You should offer alternative two-​week periods during which the event may take place, and provide the FED team with sound reasoning for the selection of these periods. When considering these periods, pay attention to the tourist seasons of the destination in subject, and the optimisation of court use in these seasons. • You should emphasise the technical and infrastructural readiness of the hotel to host the championship. As a team, you need to determine what factors to focus on during your presentation. For example, clay tennis courts need adequate hardness for best player performance. Adequate hardness is provided by the right mixture of clay and sand at the right humidity. The clay is harder/​softer than preferred due to heat in summer and rain in winter. • Ideally, you are aiming to capture the highest number of reservations possible from players, accompanying persons and spectators. You need to parallel your target number of guests with your room and court capacity. If you are going to partner with other service providers for any aspect of event hosting, you should offer logical and consistent reasoning to this approach in your bidding proposal. • You are expected to offer a package price to tennis clubs and players, which should embrace all services and facilities they require during their stay. When deciding on this pricing strategy, you are also expected to assure the FED team of the financial credibility and capacity of the hotel in organising an international championship. To do that, you can refer to a variety of income sources. • You need to consider the varying needs and expectations of different age groups participating in the championship. The statistics gathered during past events indicate that the highest number of participants compete in the 50–​55 age group. References /​Further Reading 2023 ITF World Tennis Masters Tour World Individual Championships. www.itften​nis.com/​ en/​itf-​tours/​itf-​mast​ers-​tour-​world-​champi​onsh​ips, Access Date: 2 May 2023. Ali Bey Club, Manavgat Court Layout. www.ali​bey.com/​en/​club/​ten​nis, Access Date: 2 May 2023. Ali Bey Resort, Sorgun Court Layout. www.ali​bey.com/​en/​res​ort/​ten​nis, Access Date: 2 May 2023. Arıkan Ş, Doğan İ, Revan S. (2020). Analysis of grand slam tennis tournaments by gender. Gaziantep Üniversitesi Spor Bilimleri Dergisi, 5(1), 69–​80. https://​doi.org/​10.31680/​ gaun​jss.692​793

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Carboch, J., Sklenarik, M., Kocib, T. (2021). Game characteristics in professional tennis at different levels of international tournaments, International Journal of Applied Exercise Physiology, 10(1), 129. Chmait, N., Westerbeek, H., Eime, R., Robertson, S., Sellitto, C., & Reid, M. (2020). Tennis influencers: the player effect on social media engagement and demand for tournament attendance. Telematics and Informatics, 101381. https://​doi.org/​10.1016/​ j.tele.2020.101​381 International Tennis Federation (ITF). www.itften​nis.com/​en, Access Date: 25 February 2023. ITF World Tennis Masters Tour 30, 35, 40, 45, 50 World Individual Championships 2023 Event Fact Sheet. www.itften​nis.com/​media/​9433/​2023-​itf-​wtmt-​55-​60-​world-​team-​ champi​onsh​ips-​fact-​sheet-​march-​2023.pdf, Access Date: 2 May 2023. ITF World Tennis Masters Tour Participating Teams. itfmasters.tournamentsoftware.com/​ sport/​teams.aspx?id=​056F7D56-​2A28-​437B-​9AA5-​25FE8C764BF8, Access Date: 2 May 2023. Turkish Tennis Federation. www.ttf.org.tr, Access Date: 25 February 2023.

Case 19 BIDDING FOR EVENTS THROUGH RESPONDING TO REQUESTS FOR PROPOSALS Richard J. Buning

Learning objectives

Upon completion of this case, participants will be able to: • understand the corporate sales process in events as a venue operator; • assess, identify and evaluate the key resources of a venue to be sold to a potential event owner; and • respond to a request for proposal. Duration

The duration is flexible depending on the teaching strategy, 30 minutes to 1 hour plus, or this could make for a longer take-​home assessment. It is best broken into two phases, with phase one consisting of reading the case, watching the supplementary videos, and identifying the response format. The second phase consists of research and preparing the proposal in response to the request for proposal (RFP) document. Target audience

The case here is targeted towards undergraduate or postgraduate event management students enrolled in a planning, operations or a sales course/​unit. It is intended to be completed in small groups but could be individual.

DOI: 10.4324/9781003390381-19

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Teaching methods and equipment

The case uses a problem-​based learning approach through a video case study of a real-​world scenario of an event venue responding to an RFP as part of the corporate sales process. Students will role-​play as the venue’s sales staff to work in identifying and assessing the venue’s resources and capability to meet the needs of the potential client. In doing so, the students will have to craft a proposal to host the event, which will then be presented to the class. The case is designed to be implemented in small groups during an in-​person or virtual class. However, the case could be assigned as a project or a take-​home assessment as well. The case involves watching a series of videos, reading the case, researching the case and reviewing the included RFP document. Teaching instructions

Provide the case to the students and let them review and supplement the readings with the provided videos and the RFP document. In the references, video links for Victoria Park, Celia Robertson and the problem statement are all provided. Invoke one round of discussion and work to outline the event specifications (i.e. number of people, elements, spaces required) and the response format. Round two of work and discussion should be used to provide a proposal to be presented in response to the RFP for the client. The case can be provided to stir discussion or create detailed proposals based on the time available. Sometimes students may be stuck on where to start. Whiteboarding responses from the first round of discussion to outline a proposal format will help here. Creating an inventory together as a class of possible function spaces at the venue from the case material and web resources below will also help. From there, students can work in groups and delegate tasks to complete each section of the proposal (i.e. day one, day two, gala). The instructor may need to help with delegating tasks. If timing is running short, simply framing out the proposal and the content to be included is an abbreviated option. Ideally, students will then present their proposal back to the class or in a report format based on the structure of the course. The instructor may wish to specifically set the proposal response format and sections required or let the students determine these needs. Case Background

A request for proposal (RFP) is a common business document used in the event industry and produced by the owner of an event. The document announces a potential event, describes the event, and then solicits bids from potential event managers and/​or host venues/​cities. Requirements for the events detailed on a

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RFP commonly include a range of details pertinent to the event including venue specifications, parking, access/​transport, location, meeting rooms/​spaces, facility specifications, activity spaces/​surfaces, capacities, storage, amenities, dates, timing, staff requirements, revenue guarantees and more. The format of an RFP typically includes the following sections: • • • • • • • • •

Introduction Event description (including history and impacts) Event schedule Role of the event organizer Role of the host Definition of the ideal event site (including requirements of the event) Benefits to the host Sponsors and marketing rights Response format/​timeline

Responding to an RFP can be quite a large endeavour that requires large-​scale feasibility studies taking a year or more for mega events, or of a much smaller scope, as is the case here with corporate sales at an event venue. After an RFP is issued and distributed to potential event hosts (i.e. destination marketing organizations), proposals are then prepared and submitted to the event owner to then be evaluated. The process is highly competitive as potential event hosts contend to offer the best value for money in impressing the event owner to win the bid and host the event. Victoria Park

Celia Robertson is a corporate sales executive at Victoria Park based in Brisbane, Qld, Australia, and she needs your help in responding to an event sales inquiry, an RFP. The case entails learning about the location, Victoria Park, Celia’s role, RFPs, and preparing a proposal to bid for the event. For more information about Victoria Park, please refer to the video links in the References. Victoria Park, or Barrambin, is a large park and entertainment precinct located two kilometres from Brisbane’s central business district. The park is situated on 64 hectares of open space overlooking the city. The Victoria Park facilities include golf facilities, a driving range, putt-​putt, function and event room hire for corporate and private events, wedding ceremony and wedding reception spaces, and a casual family-​friendly restaurant, The Bistro. The function spaces include 7 different areas and hosts more than 1,200 events, 6,000 golf lessons, 260,000 meals and 500,000 visitors annually (Victoria Park, 2023). The function spaces include the marquee tent (420 seated/​700 cocktail), ballroom (260 seated/​550 cocktail), garden marquee (110 seated/​120 cocktail), alabaster (90 seated/​120 cocktail), quartz (90 seated/​120

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cocktail), the orchard (60 seated/​120 cocktail), the putting lounge (70 pax), and the driving range lounge (30 pax). On-​site parking is provided, and a public bus station is located nearby. About Celia

Celia is an events professional in the Brisbane area and an event management graduate from the University of Queensland. At Victoria Park, her primary responsibility is booking events and selling their various function spaces and catering packages to potential clients primarily from the Brisbane area. Inquiries for events come to Celia through multiple channels (email, networking, phone etc.), for which she then prepares a detailed proposal with pricing info and available booking options and invites the client to the venue for a tour. If successful in the bid to host the event, she then hands over the event to the event planning staff to run. The Problem

Celia needs your help in responding to a request for proposal (RFP) she received from the Brisbane Economic Development Agency, Brisbane’s Destination Marketing Organization, to host a 2-​day conference followed by a gala dinner for a children’s cancer charity (see Table 19.1). The event is expected to host 200 guests. Both days will include a full conference programme with presentations, and include morning tea, lunch and afternoon tea in a cabaret-​style layout. The gala dinner is to be delivered in a banquet-​style format for the full 200 guests and include a stage for entertainment and a dance floor. The gala dinner is to consist of a three-​course dinner and a four-​hour premium beverage package with speakers, a keynote presentation and a live band. The budget for the event is flexible. To respond to the RFP, you will need to check the meeting spaces available for the size of the event, a proposal for day one, day two and the gala dinner. To be included are considerations for menu options, programmes for each day, floor plans, pricing information and audio-​visual inclusions. Information on Victoria Parks spaces, floor plans, catering options and more are located online and are provided in the references. Specifically, create a response in the form of a proposal to the case by answering the following questions. 1. 2. 3. 4.

What are the specifications for the proposed event? What components are needed to create to respond to the RFP? Create a proposal that includes all necessary items as detailed above. Present your response to the class.

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Children’s Brain Cancer Conference 2023 Conference & Event RFP Details Dates Duration and Programme Estimated number of attendees Venue requirements

Room requirements Catering

Audio Visual

Two-​Day Conference and Gala Dinner Conference will be held over two full days Day 2 Gala Dinner 6:30 p.m.–​10:30 p.m. 200 pax Banquet 200 pax Hotel or Conference Centre Gala dinner may be held at the conference venue, or at an external venue Unique location Competitively priced. Conference venue: 200 pax cabaret-​style layout Gala Dinner: 200 pax banquet layout Please quote on a three-​course alternate drop with four-​hour beverage package for 200 pax, and full-​day morning tea, lunch and afternoon tea for conference function. Standard AV package. Event organiser will liaise directly with chosen venue requiring any additional AV/​Staging required closer to the date.

Background and Bidding Situation Bid Criteria: Location, price, unique Gala Dinner venue are key decision elements for the organisers. Decision Notification: Committee will review proposals. Competition: Brisbane is competing against the Gold Coast and Cairns for this event. Source: An interview with Celia Robertson, 2022

References /​Further Reading University of Queensland Business School. (2022a). Meet Celia Robertson [Video]. YouTube. https://​youtu.be/​vkN0​_​IIC​H7g. Access Date: 12 August 2022. University of Queensland Business School. (2022b). Context: Victoria Park [Video]. YouTube. https://​youtu.be/​Kd0k​GCuU​vRU. Access Date: 12 August 2022. University of Queensland Business School. (2022c). The Problem [Video]. https://​youtu.be/​ eMmp​PKb0​VbU. Access Date: 12 August 2022. Victoria Park. Victoria Park Event Resources. https://​victor​iapa​rkco​rpor​ate.pixie​set.com/​. Access Date: 7 August 2023. Victoria Park. YouTube channel. www.yout​ube.com/​@Vic​Park​Golf​Comp​lex. Access Date: 7 August 2023. Victoria Park. Victoria Park Event Venues. https://​victo​riap​ark.com.au/​functi​ons/​funct​ion-​ event-​ven​ues/​. Access Date: 7 August 2023. Victoria Park. Victoria Park Function & Event Venue. https://​victo​riap​ark.com.au/​our-​story/​ . Access Date: 7 August 2023.

Case 20 STAND LAYOUT IN A RESTRICTED FESTIVAL SPACE Gürhan Aktaş, N. Nida Özgen and Işıl Özgen

Learning objectives

Upon completion of this case, students will be able to: • understand the principles of a local festival site planning; • compare the varying needs of different stakeholders in site planning considerations; • assess how festival layouts have an influence on the participation and satisfaction of different stakeholders; and • propose strategies on the spatial use of festival sites in order to enhance festival experience. Duration

The duration is approximately 90 to 120 minutes depending on the number of student teams created. Target audience

This case is designed for teamwork and is most suitable for students enrolled in the event-​ and tourism-​related first-​degree and vocational programmes of higher education institutes. If found applicable for postgraduate classes, instructors should be warned that extensive knowledge and professional experience on events, and more specifically on festivals, may guide students to delve into manifold issues involved in festival planning, which may be outside the scope of this case. Although there is no harm in various aspects to be considered and discussed by students, DOI: 10.4324/9781003390381-20

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instructors should monitor the progress of discussions, and remind teams to focus on the factors related to site planning and layout. The case can be executed in a class of any size. At the start of the class, instructors should divide students into teams. For a class of around 20 students, four to five teams can be created. For larger classes, the number of teams can be increased, which would then require an extension in the duration of implementation. However, it is worth noting that the execution of the case in classes of more than 40–​50 students would be difficult to manage, hence is not recommended. Finally, although there is no need for any background knowledge among students, an understanding of the basic principles of event planning and organisation would be preferable. Teaching methods and equipment

The teaching method of this case is based on team discussions and team presentations. At the start, instructors should divide the class into teams and should organise a classroom setting to allow the members of each team to sit together and apart from other teams, so that each team has some space to engage in discussions and take notes. Teams can be encouraged to use computers connected to a projector, flip charts and/​or boards when sharing their discussion results during presentations. Teaching instructions

Although this case is partly based on the findings of a research project conducted by one of the co-​authors at the Urla Artichoke Festival held annually in Türkiye, most of the festival details are changed and fictitious for educational purposes. That is why the festival, the destination and the stand contractors are shown anonymously, and no festival information provided may be used for scientific referencing. Instructors can initiate the implementation with an introduction to the importance of local festivals in the following: destination marketing; product diversification in low tourist seasons; enhancing quality of life for host population; creating an awareness of cultural, natural and heritage tourism offers; and protecting these offers in destinations. Following this optional introduction, the class should be divided into teams and the first part of the case should be handed out. At this step, teams should be given 20 minutes to read the first part and then to discuss the following questions from the organising committee’s perspective: • What are the main issues and factors to be considered when organising and planning the festival site? • Based on the two-​year experience, what projections on site planning would you suggest for the third festival? What would you change, and what would you keep as it is?

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• What do you think about a new strategy introducing stand fees? What alternative methods can be used to generate festival income? • What clauses should be covered in stand contracts in order to ensure the achievement of the festival aims specified in the first place? When the first phase of team work is over, each team should then be given 5 minutes to summarise their answers in a presentation to the class. At this stage, it is recommended that instructors create a keyword list of the team’s presentations, and make the list visible on boards or projected slides to the whole class, so that students can consult it, if needed, during the second step. After team presentations, the teams are provided with the second part of the case. This second part actually offers some answers to the questions raised in the first step, such as the clauses of a stand contract, alternative stand types and the sections created for different purposes on the festival site. Following a similar approach to the first step, the teams should be asked to answer the below questions after reading the second part: • What factors and aspects of site planning should the festival organising committee consider when planning the fourth festival? • What strategies can be introduced in the selection of stand contractors and sponsors, and their placement at the festival site? • What is your view on an expanded festival site? Where should the fourth festival be organised and in what capacity should the site be prepared for? • What layout should be preferred for the fourth festival? Place the stands and all other festival areas you consider crucial on your own sketch map. Make sure that the reasoning of all components inserted into the map is supported by the information on the last three years. For the second phase, teams should be allowed to work for about 30 to 45 minutes, and then to present their site layout plans to the class along with their newly proposed festival strategies. Each team presentation can be followed by a Q&A session. Clearly, there is no one single correct answer and teams can approach festival site planning issues from varying perspectives, focusing on different details of the case. It is, therefore, important that instructors assess how the teams support their festival strategies and site layout plans with logical arguments and in light of the existing information. Some possible strategies can be listed as follows: • The key decision should be made on whether to allow the festival to grow with more visitors and more stands on a further expanded festival site, or to control its growth with restricting regulations. Both options are possible but represent conflicting aims in festival organisation. While a growing festival may lead to the abandonment of the ‘local festival’ context, it may also require the festival to be transferred to a spacious peripheral location outside the town. A newly created

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and bordered festival site may include car parks, sitting areas, different stages and alternative exhibition spaces. In practice, such festivals often have entrance fees with tickets purchased online or on-​site. While entrance fees generate a new income source, they often transform a small-​scale cultural festival into a commercialised event. • The other option would be to preserve the ‘authentic localness’ of the festival and to retain the town square as the main festival site. This option would require new strategies to restrict both the stands on display and visitors. The quotas for those local and artichoke-​related stands could be increased and the number of sponsors could be limited to a few companies. • The organising committee should also consider new sponsorship arrangements. If maintaining the festival in the town centre is preferred, sponsor zones could be created. The parks, for example, could be turned into special zones titled with the main sponsors’ company names or brands, where the responsibility for organising and managing a variety of facilities and activities in a designated zone could be assigned to the concerned sponsor. After all, the benefits gained through festival sponsorship are not limited to free stands. The popularity of the festival would allow the organising committee to launch different sponsorship types in accordance with the predetermined amount and scale of monetary and non-​monetary contribution expected. • The organising committee could also make use of the buildings in the town centre. A special partnership agreement signed with the shopping mall, for example, could turn the mall into a separate festival zone gathering commercial stand contractors. Similarly, the museum could be used for workshops, guest speaker talks and other small-​scale social activities. This would allow the town square to be reserved solely for those stands of local people and small-​sized establishments. • In order to encourage more locals to take part in the festival as stand contractors, new stand pricing strategies with special discounts could be initiated. • Instead of concerts by famous bands and artists attracting crowds, an earlier strategy to host local performers could help the festival retain its local ‘artichoke’ theme at its core offer. In any case, selecting performances from similar genres would help the festival improve its brand image, matching the needs and expectations of target markets. Case The Artichoke Festival –​Part I

The artichoke is one of the endemic products of Town X. The unique cultivar of artichoke grown in the region was acknowledged with a Geographic Indication (WTO, 2023) and is considered among the most suitable artichoke types for cooking. In fact, research conducted by the Local Gastronomy Club has demonstrated that

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there are at least 32 different traditional artichoke recipes originating from the region and some dating back centuries. Despite the high demand for artichokes in the country and also in international markets, there is a big threat of its extinction. The short and once-​a-​year harvest season in the spring months and the necessity to store harvested artichokes in cold storage units at 0˚C in order to extend their short-​lived freshness only up to 6 weeks are considered costly and arduous. Such difficulties have resulted in local farmers switching to other and more profitable agriculture products, hence signalling the risk of the vegetable’s survival in the region. Although the recent establishment of a food processing and packaging factory with government loans has encouraged some farmers to continue planting artichokes, the total annual harvest remains stable, if not decreasing. In order to safeguard the existence of artichokes in the region, to create a nationwide awareness of its uniqueness and to encourage more locals to invest in planting the vegetable, the municipality came up with an artichoke festival idea five years ago. The fact that the town has recently gained popularity as a gastronomic destination known for its fine dining restaurants owned by famous chefs and vineyard tours further assured the compatibility of this vegetable-​themed festival with the overall tourist offer of the town. After a year-​long planning phase, the first artichoke festival was organised in the town square 4 years ago and offered a platform for farmers, restaurants and locals to exhibit and sell fresh, processed and cooked artichokes alongside various other local products, including knitted clothes, handwoven home textile products, artworks by local artists, homemade dishes and the wine brands of local vineyards. A three-​day festival was held in April coinciding with the end of artichoke harvest. The high tourist season starting in June was also taken into consideration when determining the festival dates. During the preparation phase, the festival organising committee was established at the Municipality consisting of the Culture and Arts Division’s staff. The representatives of the Local Gastronomy Club, the Hotel and Restaurant Association and the Wine Producers Union were also invited to the committee’s monthly meetings. After long discussions on where the festival should be held, the consensus was reached on the town square serving as the festival site. The decision was based on the fact that the square would enrich the visibility of the festival and allow locals and visitors to interact in a spacious and easily accessible central location. In line with this decision, the announcement on the launch of the festival was made and those interested in participating as stand contractors were sought. In its first year, the festival site embraced an exhibition space for stands and a small stage used for opening and closing galas, and for award ceremonies, performances and talks by guest speakers. The festival programme consisted of various activities including an artichoke dish competition, famous chefs’ talks, the certificate ceremony for artichoke farmers, and performances by local dance schools and bands. The number of stands at the exhibition area, in the meantime, was only 32 mostly used by local people and establishments. Only 4 of these stands were allocated to the main festival sponsors, which were all large nationwide food

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and beverage companies. In this first year, the festival committee managed to secure festival funding and offered stands free of charge thanks to the combination of financial income generated by municipal allowances, sponsorship fees and a small non-​refundable grant awarded by the National Department of Culture and Arts. On its first day ever, the festival started low-​key, attracting some visitors, most of whom were locals and residents of nearby towns and cities. The next day, coverage of the festival on the most-​watched daily morning show of a national television channel, however, led to gradually increasing visitor numbers towards the third day of the festival. The estimated figures indicated a total number of 14,000 visitors, with the highest recorded daily visitors of 8,000 on the last day. Despite the lower-​ than-​expected total visitor numbers, the on-​site survey conducted by the festival organising committee demonstrated that both visitors and stand contractors were satisfied with the festival, and that they wished the festival would continue in the coming years. Based on this feedback, the festival was announced to return the following year with a similar programme and a festival layout. The only difference made to the festival plan was the introduction of small stand fees. While festival sponsors would secure a large stand in return for their financial contribution, the daily stand fees for all others were set as €150 for small stands, and €300 for the large ones. In spite of these newly introduced stand fees, the number of applications to rent a stand increased, and the festival organising committee decided to add more stands to the festival site. As a result, the previous year’s total number of 32 stands was raised to 60 stands in the second year. The previous year’s sponsors, in the meantime, returned as the only 4 main sponsors of the festival. Most of the stand applicants were again local people and establishments, who would like to demonstrate and sell their products. The accelerated interest in hiring stands led to the variety of products on display, albeit most were still either artichoke-​related or associated with other local cultural products and values. In addition to the 4 large stands allocated to the sponsors, another 3 were reserved free of charge for partner organisations. While 5 large stands were rented by local organisations and companies, the remaining 48 stands were rented either by individuals or small-​ sized local establishments. The second festival did not only witness an increase in stand numbers, but also enjoyed a noticeable rise in total visitors, too. Some travel agencies started promoting their usual short-​break vineyard tours with an emphasis on a visit to the festival. Similarly, daily excursions were organised from nearby cities, and various gastronomy clubs and schools across the country booked hotels for their members and students, who stayed in the town throughout the festival duration. The post-​ festival estimations accounted for an almost tripled visitor numbers of 37,000 in total, with more than 12,000 daily visitors on average. The findings of the on-​ site research, however, indicated some shortfalls mostly from the perspectives of visitors. The most frequent complaints were about: the poor composition of stage performances; the difficulty in getting touch with festival personnel when needed;

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crowds especially after noon; uninterested visitors gathering near the stage and disrupting guest speaker talks; not being able to sit down and enjoy the food bought from stands; and the lack of cooking demonstrations by local chefs. The future of the festival –​Part II

Having learned from the first two years’ experience, the festival organising committee worked on its festival plan and made some alterations on the festival context and programme for the third festival. While the town square was still used as the main festival site, the exhibition space was expanded onto the adjacent roads and two parks. As can be seen in Figure 20.1, the square not only hosted 52 stand units, but was also home to the Municipality Stand, which served as both an information desk and the host stand where the town was promoted with its various tourism offers. In addition to this stand, another area next to the Main Stage was allocated as the Management Desk, where the festival personnel dealt with the inquiries of stand contractors, sponsors and visitors. This year, a new workshop area was also created for small scale social activities. While the Main Stage was used for the opening and closing galas, award ceremonies and performances,

FIGURE 20.1 A sketch

map of the festival site. Created by the authors.

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the workshop area equipped with portable cooking facilities mainly served to hosting guest speaker talks, cooking demonstrations and other activities such as a children’s painting workshop, an artichoke-​themed costume competition, wine tasting sessions and movie screenings. Unlike the Main Stage, where standing audience gathered in allocated free space to enjoy performances, the workshop area was equipped with 120 theatre style seats. The success of the second festival and the flowing applications for stand hiring forced the organising committee to enlarge the festival space, but also presented them with an opportunity to increase stand fees. They also introduced different stand types. Regardless of their location either on the square or on newly designated roads and parks, all stand units had a uniform structure with standard dimensions occupying an area of 8 m². While contractors were given freedom to decorate their stands however they wish, their exhibition space was restricted to the stand area rented. As mentioned above, there were 52 stand units on the town square, titled as Stand Type A and shown as white boxes in the figure. These units could either be rented by one applicant and serve as a large stand, or could be divided with flexible panels into two small sized stands to be rented separately. This large and small sized stand options were also available for Stand Type B shown in grey and Stand Type C shown in black. According to the municipality stand hiring regulations, however, an important criteria for the Type A stands were: that at least 50% should be allocated to those, who will exhibit/​sell artichoke-​related products, and; at least 50% of all town square stands should be allocated to local people and local companies. Such restrictions did not apply to Type B and C stands. The organising committee set the daily stand fees as follows: • • • • • •

Stand Type A –​Large Stand: €2.400 Stand Type A –​Small Stand: €1.200 Stand Type B –​Large Stand: €1.700 Stand Type B –​Small Stand: €850 Stand Type C –​Large Stand: €1.000 Stand Type C –​Small Stand: €500

At the third festival, two of the 52 stand units on the town square were offered free of charge to local partner institutions as in previous years. While the Local Gastronomy Club used one of these stands, the Hotel and Restaurant Association and the Wine Producers Union opted for small size stands, and shared one unit between them. The 4 former sponsor companies also continued with their sponsorship deals and were reserved 4 large stands on the town square. Furthermore, the festival attracted more sponsors in its third year. A budget airline company, a national household electrical appliances company, an international tour operator based in the country and a local wine producer all signed sponsorship deals. Although the amount of financial contribution varied between these sponsors, they were all provided with a large stand on the square. Moreover, the minimum sponsor contribution to the

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festival budget was more than the three-​day fee of the stands allocated to them. The best stand award initiated in this year and voted by visitors was also given to the stand of a sponsor, the local wine producer. From the remaining 42 stand units on the square, another 12 units were rented as large stands mostly by large companies. Among these, there were a pizza restaurant chain, a soft drink company, a supermarket chain and a company producing processed and frozen food. Thirty stand units, in the meantime, were split into 2 small stands and were rented by 60 different individuals and establishments. Although there was a range of stands with varied products on display, the quota of 50% for artichoke-​related and local products was achieved. This year, the festival was home to some creative ideas on display including artichoke sushi and ice cream, dried artichoke parts used as decorative elements in glassworks and pottery, artichoke-​themed paintings by local artists, and children’s books with stories about an artichoke family. Two parks adjacent to the square were also used as festival sites in the third year. Each one of these parks was equipped with 10 stand units and a table sitting area with a capacity of 120 chairs. These 2 sitting areas helped visitors rest and enjoy their food and drinks in addition to the permanent benches serving the same purpose. While all of the stand units in the parks were categorised as Stand Type B, only two of these stands were rented as large stands, leaving the remaining 18 stands to be split into two sections for small stand rentals. In consideration that the rest areas would create visitor traffic between the square and the parks, 10 stands on the park-​facing pavements of Roads B and C were classified as Stand Type B. Another 10 stands on the opposite pavements, in the meantime, were in the category of Stand Type C. In fact, these stands were the only Type C stands in the whole festival site. None of these stands on these roads were rented as large stands, and were all split into two sections, creating 40 small stands. Finally, Road A, the high street of the town, was donated, with 14 stand units in the category of Type B. Five of these were rented as large stands by the shops already existing on the street, while the remaining 9 stand units were shared by different stand contractors. In its third year, the festival with its site extensions enriched the festive environment in the town centre. The range of activities organised, the variety of stand displays and an experienced festival team all helped the event be completed successfully. With a sufficient amount of secured funding, the festival organising committee even managed to book three concerts by famous bands and artists. A jazz quartet on the first day and a folk band on the second day were followed by a concert by a well-​known pop star on the third day. These concerts took place in evening hours, and attracted a large number of visitors to the square. Overall, the

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total number of visitors reached its peak with 46,000 visitors, while the maximum figure at any given time was recorded at the last day’s concert with 4,300 visitors flooding from the square to the roads and parks. As always, the municipality revised its festival plan and considered changes in its event strategy according to the following: the feedback obtained from both visitors and stand contractors; the on-​site observations of the festival team; and the projections of the municipality for the next year’s event. This time, the most frequent visitor complaints were about: heavy traffic to the town centre; limited parking spaces near the square; the lack of accommodation opportunities; the high price of products on display; and crowds on the square. In a meeting organised soon after the third festival, the festival organisation committee also went through the feedback provided by stand contractors. Alongside much positive feedback, the examples of some negative experiences of stand contractors are shown below.

Mary, 38 yrs old Resident of the town Products on display: Homemade artichoke jam, artichoke cookies, artichoke cakes and artichoke candies. Stand Type: C small Type of participation: Newcomer as a stand contractor. “I thought about what I can sell at the festival, and came up with this idea of sweet recipes last year. I don’t know how many cakes I baked until I finally succeeded in its final formula … My aim was simply to offer something new, something nobody has dared to do before … Most of those visitors who tried samples, purchased either a jar of jam or a box of candies. I sold mostly jam than the rest. However, I couldn’t reach enough people. Most of the central stands were booked on the first day, and I was left with the one on Road C. Not many people passed by that area. They wander around on the square, and leave without seeing what is happening on the side streets. I am not even sure if some realised that the festival area was larger than the square itself”.

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Tom, 41 yrs old Farmer from a neighbour town Products on display: Snacks, sandwiches and drinks, mostly prepared with poultry products and fresh vegetables. Stand Type: B small Type of participation: Second year as a stand contractor. “This is my second year. Last year, stand rents were not this high, and I could make some money. It was worth taking part in the festival for three days. This year, however, the rents were too high. I am not sure I’d attend it again next year … I have a friend who has a cafe on Road B. They also rent a stand in the square. For them, it is a win-​win situation. I wish our town organised a festival, too”.

Bill, 47 yrs old Owner of a local company Products on display: Canned and frozen vegetables including artichokes. Stand Type: A large Type of participation: Third year as a stand contractor and a sponsor of ‘Workshop on Local Artichoke Dishes’ “Each year the number of stands is increasing. It is understandable, as the festival gains popularity year after year. But they need to think about how best to use the square during the festival. It is simply too many stands squeezed into a small area … I benefit from the stands reserved for local companies and get a stand in the square. We have every right to get these central stands, because we have been participating since its first year. It wasn’t this popular then. In its first year, we invested so much in creating an attractive stand. We wanted people to think that this is a fun festival with good-​quality products on display. We believed in this festival … But after all, we are a small local company. They now put those big companies next to my stand, and I found myself competing with these giant market leaders. How can I compete with them? They set up a stand you can see from a mile, with all these lightning and décor”.

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Jim, 28 yrs old Representative of a company Products on display: Unique souvenirs designed with local image icons. Stand Type: A small Type of participation: Newcomer company as a stand contractor. “Last year, I was here on holiday and easily found a hotel. This year, they were fully booked during festival days. The prices high rocketed, too. We found the solution in staying in a nearby town and commuting every day. The journey is only half an hour. But you need to wake up early to open your stand, work all day and stay late in the evening. People do not leave until the concerts are over. We slept only for a couple of hours during those three days … When visitor numbers reached its peak, especially during concerts, it was too crowded in the square. There was simply not enough space for all these people to enjoy the concerts. The organisers need to consider reducing space occupied by stands. After all, it is all the same products displayed on different stands. The variety is not that great. Mainly artichoke dishes and some homemade cakes”.

Lisa, 55 yrs old Chair of the Local Gastronomy Club Products on display: Promotional material on local gastronomy tours, workshops and cooking classes, and club publications and cookbooks. Stand Type: A large Type of participation: The club gets a free stand every year as a local partner. “With more stands, locals earn less. Yes, the visitor numbers increased, but so did the number of stands. We are a small town. Not many people are interested in renting a stand to sell food ... They prefer to enjoy the festival and have fun. They want to socialise, meet with new people and feel proud of their town. So who benefits from the festival income? There were companies from every corner of the country. There were some small specialised companies. You cannot find their products everywhere. But why do we see the stands of those brands available in every department store or supermarket at a festival site? Because they are main sponsors … Most of the local stand owners could not attend our workshops, because they could not leave their stands. There is not much interaction between stand owners”.

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The festival organising committee is now getting prepared for the fourth Artichoke Festival. Based on the previous years’ experiences and the feedback obtained at the third festival, they need to decide whether there is a need to change the festival plan with new strategies for improvement. Focusing mainly on the festival space and stand layout, your task as a team of event consultants is to discuss the lessons learned and advise what strategies the committee should introduce at the fourth festival. References /​Further Reading Canva. (2023). A town map and avatar figures in Stand Contractor Cards were prepared by using www.canva.com, Access Date: 10 July 2023 Ozgen, N.N. (2020). An Evaluation of Gastronomy Tourism Festivals in the Province of Izmir, Unpublished master’s thesis, Dokuz Eylul University, Social Sciences Institute, Izmir, Turkey. Smith, A. (2016). Events in the city: Using public spaces as event venues, Oxon: Routledge. Smith, A., Vodicka, G., Colombo, A., Lindstrom, K.N., McGillivray, D. & Quinn, B. (2021). Staging city events in public spaces: An urban design perspective. International Journal of Event and Festival Management, 12(2), 224–​239. World Trade Organisation (WTO). (2023). Geographical Indications, www.wto.org/​engl​ ish/​trato​p_​e/​trip​s_​e/​ta_​doc​s_​e/​mod​ules​4_​e.pdf, Access Date: 25 July 2023.

Case 21 SPONSORSHIP OR SELLING OUT? The ethics of event sponsorships Judith Mair

Learning objectives

Upon completion of this case, participants will be able to: • understand ethical behaviour in the context of events; • understand the drivers of ethical decision-​ making in relation to events management; and • critique the pros and cons of sponsorship decision-​making from an ethical standpoint. Duration

The anticipated duration for this case is two hours –​ this could form a two-​hour tutorial or could form part of a longer workshop or interactive seminar. This duration includes four stages –​ initial case familiarisation (15 minutes; can be completed prior to the class), class brainstorming (30 minutes), group work (60 minutes), and brief group presentations (30 minutes). If the students are required to prepare themselves with the case prior to the class, the 15 minutes allocated to case familiarisation can represent a break, or can be added on to either the brainstorming or the group work if required. Target audience

This case requires background knowledge in event marketing, management and sponsorship, but does not require background knowledge of ethics. As the case is highly reflective and requires students to consider what can seem to be difficult DOI: 10.4324/9781003390381-21

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questions of right and wrong, this case is most suitable to final-​year undergraduate students, or master’s students who are studying event management or a related subject. The case is designed for group work. Teaching methods and equipment

No specific equipment is required for this case except access to the internet. The case involves group work and therefore for in-​person classes, access to whiteboards or similar collaborative tools is required. The case also works for online teaching, with a preference for access to online collaborative tools –​ examples would be Google Drive (or other online shared drive) documents; Zoom whiteboards or Miro boards (a free online programme that is user-​friendly and works well for online group work). However, online students can work without these collaborative tools if needed, and simply use Share Screen options available in Zoom, Teams and other online meetings and communication platforms. Teaching instructions

The case is designed to have 4 stages –​initial reading of the case (students can do this preparatory reading before the class if preferred); brainstorming to identify the ethical issues raised by the case; group work to consider how an ethical decision about the sponsorship proposal might be made; and brief presentations from students as to whether they recommend accepting the proposed sponsorship agreement. It is important for teachers to prepare students in advance by presenting the background information on ethical intensity and ethical decision-​making principles. This could be done by circulating in advance the ‘Background for Teachers’ section of this chapter, or by incorporating this information into a prior lecture or workshop/​seminar. Stage 1: Individual preparation (15 minutes)

Students will be required to read the case and start to think about the ethical issues associated with the case. Ideally, this task should be completed prior to the scheduled class time to allow more time for in-​class interaction and discussion and/​ or a break midway through the class. Stage 2: Facilitator-​led brainstorming (30 minutes)

The teaching/​facilitator will lead a brainstorming session to encourage students to identify any ethical issues associated with fast-​food sponsorship of sporting events. Please note that what is considered right and what is wrong may vary from country

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to country, and teachers should give consideration to their local/​national context in terms of how this question is handled in the class. The brainstorming should relate to the ethical intensity of the issue of obesity and related health problems in the context of the country/​regional location of the class and could be considered under the following headings (refer to Background section for more information): • Magnitude of consequences • Social consensus • Probability of effect • Temporal immediacy • Proximity of effect • Concentration of effect Stage 3: Group work (60 minutes)

Students will work in groups to consider how they could use the principles of ethical decision-​making to assist the event in determining whether or not to proceed with the proposed new sponsorship agreement with fastfood.com. In doing so, students should consider the pros and cons of accepting the sponsorship offer, including whether accepting sponsorship from a fast-​food company could have any negative repercussions for the event’s reputation. Students will also use this time to prepare a brief presentation on the outcomes of their deliberations (Stage 4). As discussed in the Background section, the potential principles of ethical decision-​making that students may choose to use include: • Long-​term self-​interest • Personal virtues • Religious injunctions • Legislative requirements • Utilitarian principle • Individual rights • Distributive justice Stage 4: Group presentations (30 minutes)

Each group of students will present (maximum 5 minutes per group) to the rest of the class explaining whether they would recommend that the event proceed with the sponsorship from fastfood.com, and providing their rationale for the decision, including the ethical basis upon which they have made this recommendation. PowerPoint presentations are not necessary for this task; however, teachers may want to encourage some creativity among their students and so PowerPoints could

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be included, but a maximum of 3 slides is recommended to keep within the 5-​ minute presentation time. Background information for teachers Ethics and ethical decision-​making

While it is no easy feat to define ethics briefly, for the purposes of this case, students can be encouraged to consider ethics as a set of moral principles or values that defines right and wrong for a person or group. This then allows for a relatively straightforward definition of ethical behaviour for the purposes of this case. Ethical behaviour can be seen as behaviour that conforms to a society’s accepted principles of right and wrong. Unethical behaviour, on the other hand, contravenes society/​ group norms. What is considered ethical or unethical behaviour varies dramatically across the globe, influenced by religion, laws, customs and traditions, and so there are never any ‘right’ answers to this case –​ the point is rather to provide students with an opportunity to reflect more deeply on how issues such as obesity and associated health problems impact them and their own community and/​or society and whether sporting events should accept sponsorships from fast-​food providers. There are a number of influences on ethical decision-​making and teachers should familiarise themselves with these before the class to assist with the discussions and group work. These can be broadly described as the ethical intensity of a decision (the degree of concern people have about an ethical issue) and the ethical principles used to make the decision (whether the decision involves doing the minimum the law demands or involves assessment of other choices). Ethical intensity, which relates to how concerned people are about an ethical decision, can be thought of in the following terms (adapted from Williams et al., 2019): 1. Magnitude of consequences –​this refers to the total harm or benefit arising from the decision. For example, an issue that concerns a small number of people, or one which has a short-​term impact only is likely to have fewer consequences (positive or negative) and thus the ethics of the decision will probably receive less attention. On the other hand, an issue which affects a whole community or society, or which has ongoing impacts, demands more consideration of ethics. For this case, what is the magnitude of consequences associated with promoting junk food in a society with increasing levels of obesity and related health problems? 2. Social consensus –​ this refers to general agreement within a community or society on whether the impacts of an issue are good or bad. For this case, what is the social consensus about promoting junk food in a society with increasing levels of obesity and health-​related issues?

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3. Probability of effect –​ this refers to the likelihood of something untoward happening as a result of an ethical decision. Where a negative impact is certain, or very likely, the probability of effect is high and this lends more weight to the need to make an ethical decision. Where a negative impact is rare, or very unlikely, significant consideration of the ethics of the decision is arguably less important. For this case, what is the probability of event sponsorship by a fast-​food company contributing to obesity and related health issues? 4. Temporal immediacy –​ this refers to the time lag between a decision and its consequences. Where the consequences are immediately felt, the ethics of the decision are arguably more likely to be taken into consideration, compared to where the consequences of the decision will not be felt for months or even years. For this case, is there a time lag between attendees seeing fast-​food sponsorship and promotions and potentially developing obesity and health-​related issues? 5. Proximity of effect –​this refers to the psychological, social, cultural or physical distance between the decision maker and those affected by his or her decisions. Generally speaking, and similar to temporal immediacy above, people seem more likely to consider the ethical implications of decisions where the impacts of that decision are felt by people or places that are close to the decision-​maker (such as themselves, family and friends, or a local community). For this case, are those potentially affected by the development of obesity and health-​related issues after seeing fast-​food sponsorship or promotions close or not close to the event manager making the decision on the sponsorship? 6. Concentration of effect –​this refers to how much the decision affects the average person. Where a decision has a huge impact across the board, and affects the average person negatively, the ethical intensity of that decision would be higher than a situation where, although some people may be disproportionately affected, the average person will not be troubled significantly. For this case, is the general population potentially affected by the development of obesity and health-​related issues after seeing fast-​food sponsorship and promotions, or does this only impact members of a small or specific group of people? When it comes to making an ethical decision, there are several principles that can be used. These are not necessarily mutually exclusive, but they can be in conflict with each other (adapted from Williams et al., 2019): • Long-​term self-​interest: although this may sound relatively selfish, the intention behind this decision-​making principle is to ensure that the decision is in the best

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interests of an individual, organisation, community, society or nation. Making a decision based on self-​interest is particularly important for organisations dealing with financial questions, since this often affects the viability of the organisation in the longer term. Personal virtues: ethical decisions should never contravene the personal virtues of honesty, transparency and truth –​one way to think of this is for a manager or organisation to imagine what a newspaper report about their decision would say … would it pass the public interest test? Religious injunctions: ethical decisions can be influenced by either personal or state religious beliefs, which can be helpful in some cases when trying to decide what is the most ethical thing to do in a given circumstance. However, even where there is no formal religious injunction, ethical decisions can be influenced by a principle of causing no harm to an individual, community or society. Legislative requirements: laws and policies often provide the minimum ethical standards for a decision –​laws should not be broken, and policies should not be ignored or disregarded. However, where possible, ethical decisions go above the minimum required of an organisation by law and take into account other of the ethical principles included in this section. Utilitarian principle: this relates to the notion that any decision made should do the greatest good for the greatest number of people. Conversely, a decision that does not provide benefit for society may not be an ethical decision. The utilitarian principle is sometimes difficult to enact because it can be hard to tell whether an action is genuinely providing the greatest good for the greatest number of people, but it provides a very useful point of consideration in terms of who is affected/​impacted by a decision. Individual rights: an ethical decision is one that does not impinge on any individual’s rights, as set out in law, or in contract (such as an employment contract). Distributive justice: the principle of distributive justice relates to preventing decisions and actions that harm the least fortunate in society. This may relate, for example, to people in poverty or people in marginalised communities. In contrast to the utilitarian principle, which holds that an ethical decision does the greatest good for the greatest number of people, distributive justice requires that a decision actively benefits those least fortunate, even if this community is small in number and does not represent the majority or the greatest number of people.

Case

You are the Sponsorship Manager for a large sporting event. Your job requires you to find sponsors for the event, liaise with them and ensure that they are happy with the outcomes of their sponsorship. It has been a bit of a struggle to find sponsors for

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this event, so you are very pleased when fastfood.com, a large fast-​food company, approaches you with a proposal to provide a very generous sponsorship package for the event, which includes not only a financial contribution to the event, but also in-​kind benefits by way of discounts on food purchases for event attendees the next time they visit a fastfood.com outlet. However, something is troubling you. You have recently seen increased media coverage of the obesity epidemic affecting your community, and you were shocked to learn of the numbers of local children who are now classed as overweight or obese. The statistics for those suffering from obesity-​related health issues such as diabetes, cardiovascular disease and high blood pressure, amongst others, are also very concerning to you. The media reports suggest that a combination of factors, including an increase in junk food consumption and a reduction in those taking part in active sports, are linked with the obesity epidemic. As someone who works in the sports sector, you know that there is an opportunity to use your events to promote sports participation and healthy lifestyles, particularly to children who attend the event and look up to sports players as role models. Does having a fast-​food company as your event sponsor detract from that opportunity? Would having sponsorship from a fast-​food company that is giving out discounts for junk food actually contribute to the obesity epidemic? Your event needs the money, but you just don’t know what the right thing is to do. The CEO needs a decision on this sponsorship opportunity soon and has asked you to provide a short presentation briefing him on your recommendation as to whether accept the proposal from fastfood.com or not. You call your team together to consider the potential implications of accepting this sponsorship proposal and discuss how you might come to an ethical decision. In preparing your presentation, provide responses to the following questions: 1. What are the possible ethical issues you should consider? 2. How important are these issues to your community or society (so-​called ethical intensity)? 3. What ethical decision-​making principles have informed your recommendation as to whether to accept the sponsorship offer from fastfood.com? 4. What do you think is the ‘right’ thing to do here and why (noting that there are no hard and fast rules about what is ‘right’)? Has your team has decided to recommend accepting the sponsorship offer from fastfood.com or not?

Reference /​Further Reading Williams, C., McWilliams, A., Lawrence, R. & Waheduzzaman, W. (2019) MGMT 4th Asia Pacific Edition. Melbourne, Australia: Cengage Learning.

Case 22 WE MADE IT! The value of volunteering for festivals Mervi Luonila and Sari Karttunen

Learning objectives

After completing the case, participants will be able to: • analyse volunteer management at festivals; • identify the practice of volunteering at festivals and events; • understand volunteering from the perspective of festival organisations; • recognize the motives of volunteers at festivals; and • identify benefits from volunteering for the different festival stakeholders. Duration

In total, 2.5 hours: 1 hour pre-​reading the case and references and 1.5 hours lecture. Target audience

The case requires general knowledge about cultural and event provision, organisation and management as well as participation. It is more suitable to students at bachelor’s or higher level of education. It includes lecturing, discussion in class and group work. Teaching methods and equipment

Execution of the case requires a computer or a phone with an internet connection that is needed for data search as part of group assignments.

DOI: 10.4324/9781003390381-22

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Teaching instructions

The class can be organised in-​person or online. The case is analysed, and the assignment is carried out in small groups during the class. The participants’ virtual or in-​person class attendance is essential. First, participants should discuss the pre-​read case together as a class: What are the first key findings concerning volunteering, volunteer management and organising? Second, instructors can ask if any of the students in the class have volunteered for a festival or organised a festival using a volunteer workforce. The discussion can continue with the insights of those with previous experiences. Third, instructors should divide the students into small groups of 3–​4 and assign them a group task (25 minutes): • Find 2–​3 case festivals that use a voluntary workforce. The festivals can come from your own country or any other country, provided that there is information available in a language that the whole group understands. • Analyse the use of volunteers from the ethical and responsible management perspectives. • Identify ways to enhance volunteer experiences and strengthen their commitment to the event. • Based on the previous texts, discussions and analysis of your own case festivals, develop 3–​5 key recommendations for volunteer management for further improvement of the festival’s volunteer strategy. Fourth, students present their recommendations to the whole class, discuss their recommendations, and consider together what these recommendations demand from both volunteers and managerial practices (40 minutes). Student work is 2.5 hours. Students’ responsibilities are to get familiar with the case and the given references. During the lecture, students are expected to attend the class and take a proactive in class discussions. Methods of completing studies are examination of the case, online work, and group discussion and class assignment. Case We made it! Festivals as a specific mode of organising cultural offer

Festivals are short-​term, recurring and time-​and place-​bound phenomena and a project-​based way to organise varied artistic and cultural contents for manifold

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audiences. Needing little permanent infrastructure, they may be flexibly arranged in many kinds of neighbourhoods. Reflecting their sporadic occurrence and temporal need for resources, festivals are produced through networks consisting of various stakeholder groups and co-​producers, including volunteers. Festival organisers must be skilled both in building a supportive network and in managing their stakeholder relationships. The importance of managerial expertise reflects the crucial need for multilayered resources in the context of festival production, the aim of which is to produce a comprehensive experience, and to create an environment that promotes a sense of community and celebration. Here volunteers play a crucial role in connecting the festival to the local population and to the tribe of people interested in the substance matter. It is crucial for managerial success to understand the expectations of the various stakeholders and obtain continuous feedback from all the parties involved in the process of making a festival. Finnish festivals in brief

Finland is one of the leading nations in Europe for the number of arts and cultural festivals held annually. First, a country of 5.5 million citizens boasts hundreds of yearly organized festival productions. Arts and culture festivals come in a multitude of formats and vary from local and volunteer-​based events to major world-​class productions. The organizational structures fall into four categories: not-​for-​profit associations, foundations, municipalities, and private companies. Second, these festivals have spread to every part of the country and are recognised as playing a key role in the cultural life and provision of cultural services. Third, the festivals are artistically and culturally plentiful, representing diverse art forms, genres, and cultural habits, including theatre, music, film, dance, literature and fine arts as well as common culture and local heritage. Finally, festival attendance among the population is high. Finland Festivals (FF), the umbrella association of Finnish festivals, reported that its 79 member festivals have generated over 2 million visits annually since 2014. According to the Finnish Leisure Survey 2017, 46 percent of the population (aged 10 years or over) had attended an arts or cultural festival in the last 12 months. Case festivals

Our case study focuses on Finnish festivals, especially Ilosaarirock in Eastern Finland and Pori Jazz in Western Finland. Ilosaarirock is one of the most iconic festivals in the Finnish field (est. 1971) and might be defined as a hallmark event. The festival is managed by the non-​profit Joensuu Pop Musicians’ Association with the aim of supporting young local musicians with profits from the festival. Volunteering is a key impetus for the festival, and an essential part of its public image.

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Pori Jazz (est. 1966) belongs to the first festivals in Finland and the first international rhythm music festivals in the Nordic countries. The festival is produced by a non-​profit association. The core organization includes 3–​4 full-​time employees, who are reinforced by numerous volunteers and production partners during the peak season. The festival originates from enthusiasm for jazz in the Pori region, and a demand for summer events both locally and nationally. Similar to Ilosaarirock in Joensuu, the Pori Jazz festival’s image rests heavily on the heritage of having been established by local enthusiasts. In such relatively small Finnish cities as Joensuu (around 78,000 inhabitants) and Pori (83,000), the whole urban space becomes festivalised for nearly one week every July. Ilosaarirock and Pori Jazz affect the lives of all residents. In 2019, prior to the pandemic, the total attendance at Ilosaarirock was some 64,000, while Pori Jazz sold nearly 68,000 tickets. Both events offer free performances in different parts of the city. Volunteering as a characteristic feature of the festival industry

Volunteering, in general, means that people take action for issues and causes that they deem important. Voluntary work is unpaid work based on free will and choice. Volunteering is an integral feature of the festival industry. Although the organisation of festivals has been marketizing and professionalising in the recent decades, the provision of voluntary work is an established and important part of the industry, and many festivals depend on volunteering for their continuity. In Finland, the volunteer workforce is economically vital for many festivals. Only the biggest players in the event and festival industry have numerous staff working around the year. The bulk of festivals are realized mainly with the help of seasonal workers, many of whom are volunteers. The cooperation between the festival and local sports clubs or other local associations has been an essential factor in enabling many festivals to survive throughout their history. People may volunteer to work directly for the festival organisation or for the associations that are compensated by the festival and earn funding for their activities this way. Volunteers are usually not required to have any special capabilities, but they gain new skills through volunteering. Festivals train volunteers for their specific tasks, and some events also run wider participatory programmes for volunteers. Volunteers carry out dozens of different jobs at festivals including: • set-​up volunteers for preparation work that goes into setting up a festival; • entrance team who scan tickets or wristbands and ensure that everyone gets through security in a timely manner; • parking team responsible for the festival’s parking facility; • registration, accreditation or ticket sales; • usher/​information team; • restaurant tent servers and ID checkers;

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• • • •

first aid team; voluntary security team; merchandise sales team; stagehands that assist with everything from tech and stage set-​up to running responsibilities; • photographer or social media team; and • runner/​floater to assist with any issues that arise. At the Ilosaarirock and Pori Jazz festivals, volunteers were given some other tasks as well, including accommodation coordinator, information technology-​ professional and recycling team. In Pori, volunteers work in ticket sales, catering and transport services, the Jazz Shop, the decoration team and media services. The most sought-​after voluntary task at the festival is artist guide; however, not many of them are needed, so not all eager volunteers will get the position. The casting of volunteers has changed over the years, as legislative regulations demand that many construction and safety-​ related jobs be carried out by professionals. However, hundreds of volunteers are still needed and placed in various other tasks at Finnish festivals. Some festivals also provide the required security guard training free for their volunteers. Volunteer management

Many events depend heavily on a volunteer workforce, but the provision of committed volunteers currently raises some concern. For example, people increasingly enlist just to score free tickets and lack the passion for making a great festival for everyone. The business-​driven Nelonen Media Live in Finland, for instance, gave up using volunteers for this reason in 2018. From another angle, some festivals have been criticised for exploiting volunteers, not providing decent working conditions and not giving adequate remuneration for their contribution to the making of the festival. A volunteer workforce incurs costs, and it deserves to be ethically managed. To maintain the feel of festivals as community celebrations, it is important to cherish volunteering as a gift exchange relationship. As Ilosaarirock and Pori Jazz do, both during and after the event, it is vital to explore the expectations of volunteers and guarantee them a satisfactory festival experience. Good management is a way to develop voluntary work paths and continuity. Many volunteers return to the same festivals year after year, providing valuable skills and knowledge for the recurring festival productions (see Figure 22.1). Festivals benefit from the backgrounds of volunteers who bring knowledge and skills from many different contexts. Working life, previous event work and career paths, hobbies, local knowledge, or studies can serve as starting points for building information in festival organisation. Volunteers are essential to the image of many festivals, especially the ones that have developed out of local enthusiasts’ initiatives like our examples Ilosaarirock and Pori Jazz. An established festival

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FIGURE 22.1 Pori

Jazz: Making volunteers visible. Printed with the permission of the photographer, Tomi Vastamäki, May 2023.

organisation building upon this tradition can motivate volunteers with its benefits and good working conditions. The volunteers develop ownership of and pride in the joint creation –​“we made it!” What do the volunteers expect and gain?

Voluntarism is a form of cultural participation and a lifestyle as well. It is a chance to meet and work with people who have shared cultural interests. The music, the people, the location, and the atmosphere are reasons to come back year after year; the keenest volunteers at Pori Jazz and Ilosaarirock have frequented their chosen festivals each summer for several decades. Many people in the event and festival industry have started their career path as a volunteer. It is the easiest way to become part of the festival –​ to get “inside the fence”, as one volunteer illustrated from Ilosaarirock –​ and learn the required skills. It is also an opportunity to show one’s skills and expertise. Some of the skills that people gain are festival-​specific, while others are transferable to other events and improve wider employability as well. Volunteers receive training for their tasks, hot meals during working days, modest accommodation if needed, free tickets and festival passes, trustee accessories, and discounts for festival merchandise and regularly priced tickets. A post-​festival party for volunteers is usually provided as well. Towards understanding and enhancing the social impacts of volunteering at festivals

At festivals, the contribution of volunteers is much more than the provision of cheap labour; it is not limited to the brand and image of a festival either, or to the

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volunteer’s chance to gain free tickets. Volunteering at festivals may have wider implications at the levels of the individual, the community, and the locality. It is often said that volunteers are the face of festivals. The use of volunteers relates to audience development and outreach. Based on their experiences, the volunteers coming from different backgrounds and locations, even from foreign countries, speaks good or ill of the festivals. The management of volunteers is therefore of key importance to festivals. Volunteering may also bring multiple non-​economic benefits to the location and to the volunteers themselves. Like in the cases of Ilosaarirock and Pori Jazz, people volunteer because they have an interest in the substance matter, be it skiffle music or contemporary juggling, or in community action, or both. Many local volunteers are motivated by the belief in producing a common good for the people and locality. Volunteers are a key maker of the event community and the atmosphere of the festivals. Overall, festivals contribute to the sense of community of the host regions and cities; in essence, festivals go back to the idea of a celebration of community. Voluntary work at festivals improves employability in the cultural field by building up skills. This is important both to the individual and the locality. Ilosaarirock, for instance, abounds with stories of people who have started their career at the festival and are now functioning as important actors in the cultural and event industry. Festivals encourage an effective use of community assets by exploring local human resources, and hence create and bridge local networks surrounding a particular event. A wide willingness to volunteer gives a special edge to a locality. Voluntary work, and especially the community spirit generated and expressed via voluntary work, build bonds between different actors. This widens and strengthens the ownership of festivals both among the volunteers and the local communities. Overall, festivals have a low threshold for participation and have the potential of connecting people from different economic, social, and cultural backgrounds. The communal ownership is found to be very important for a festival’s continued existence. The Pori Jazz festival, for instance, has been a powerful demonstration of community power since its creation. One of the festival’s most recent directors described his position as “an enabler for common good”. References /​Further Reading Bladen, C., Kennell, J., Abson, E. & Wilde, N. (2023). Events Management: An Introduction. 3rd edition. Routledge. Holmes, K., Lockstone, L., Smith, K. A. & Shipway, R. (2022). The Routledge Handbook of Volunteering in Events, Sport and Tourism. Routledge. Luonila, M., Kurlin, A. & Karttunen, S. (2021). Capturing societal impact: The case of state-​ funded festivals in Finland. Journal of Policy Research in Tourism, Leisure and Events, 13(3), 397–​418. Van Der Wagen, L. & White, L. (2015). Human Resource Management for the Event Industry. 2nd edition. Routledge.

Case 23 THE SHOW MUST GO ON, BUT HOW? Manuela Guerreiro and Neil Ormerod

Learning objectives

Upon completion of the task, participants will be able to: • apply critical evaluation skills to understand the details and context of the Terras sem Sombra Festival case study problem; • collaborate as a peer group to identify and develop creative and innovative solutions to the financial future of the festival; and • communicate and persuade peer group participants of the benefits of their resulting financial plan solution. Duration

• Session 1: 2 hours • Session 2: 2 hours • Self-​directed study 2–​6 hours depending on chosen learning pathway. Target audience Overview

This case exercise presents participants with the real-​life problem of securing the financial future of the Terras sem Sombra Festival in Alentejo, Portugal. Through a genuine case study, rather than a hypothetical event, the problem is brought to life and made tangible through greater depth of insight into the characteristics and complexities that must be considered in addressing the problem. The learning DOI: 10.4324/9781003390381-23

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objectives are intended to prompt creative and innovative thinking to ultimately develop and present a credible plan for securing the Festival´s financial future. The exercise can be conducted as a formative or a summative task according to two learning pathways. The case is most suitable for students following higher education or vocational courses related to tourism and or event management. Although the exercise could be completed by first-​year students, greater benefit will be gained by students who have completed a first year of study, where they have been introduced to foundational topics such as: tourism systems and impacts, destination management and marketing, and event planning and impact. Critical issues addressed in the case include: • • • •

The complexities associated with event funding sources and sustainability; Decision-​making in festival direction and management; The role of public and private sector funding in events; The positive and negative aspects associated with issues of commercialisation, festival identity and authenticity.

Teaching methods and equipment

The case is intended as a formative or summative two-​session discursive group class activity supported by self-​directed learning. A classroom with sufficient space for groups to spread out and work on their ideas is an ideal working environment. The room should have a projector and whiteboard/​smartboard facilities to enable the instructor(s) to present the case in the first session, and for participants to present their ideas in the second session if they are using Microsoft PowerPoint or similar presentation software. Equipment such as flip charts may be useful for supporting the first session when groups are developing their ideas, but this is not essential, and the exercise can be completed paper-​free providing that the groups have digital access to the case materials. Teaching instructions

To encourage participants to develop in-​depth creative and innovative solutions, the problem is augmented by the presentation of two hypothetical and polarising solutions that help contextualise the complexities associated with the decisions that the participants will have to make when developing their plan. Once the case is understood, participants are asked to develop a proposal that addresses the problem, but without the inherent drawbacks presented by the other solutions. Thus, student learning is focused on understanding the details of the case study and subsequently applying that knowledge to develop informed and nuanced solutions.

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The following are some of the common mistakes made by participants. Instructors should be mindful of these when explaining the case to participants: • failing to appreciate the implications of the two presented solutions for the festival domains and why the polarising solutions are problematic (Learning Paths A and B); • providing insufficient detail of the festival financial sustainability plan (Learning Path B); • delivering a presentation that lacks details of the plan elements (Learning Paths A and B); • delivering a presentation that lacks a summary/​conclusion and related call to action (Learning Paths A and B); • presenting the plan in a disorganised way, for example, too many presenters (for large groups), or without a logical structure (Learning Paths A and B); • presenting the plan in an unconvincing way (Learning Paths A and B); • not asking questions regarding the plans of other groups (Learning Paths A and B); • being unable to convincingly answer questions about the plan elements (Learning Paths A and B). It is suggested that the exercise be conducted according to one of two learning pathways that support either formative or summative learning objectives. This approach provides flexibility and freedom for instructors to choose how to integrate the case into their existing teaching content. Indicative outputs and assessment criteria for the relevant pathways have been suggested, but the path scope is not intended to be prescriptive, enabling instructors to adapt the paths to suit individual course needs. Learning Path A

This path supports a shorter formative exercise. It is suggested that participants are given approximately one week following the first session to develop their plan through self-​directed study, followed by the presentation of their plan in Session 2. Participants are not expected to submit a detailed plan to accompany their presentation; rather, the learning objectives of this path are focused on the clear and informed presentation of ideas generated by each group. Suggested output: 10-​minute group presentation. Learning Path B

This path supports the summative assessment of the case and focuses on the development of a detailed plan and presentation. Following this pathway, instructors can use the case as a learning module assessment exercise where the case can be introduced at the start of a module and then assessed at the module end.

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Suggested output: Submission of 2,500-​word festival financial sustainability plan and 10-​minute group presentation. Suggested structure for the plan and presentation (Learning Paths A and B)

Introduction: The introduction should set the scene and explain the problem. Instructors should consider the extent to which participants understand and articulate the problem. Path B plan assessment’s suggested word count =​500 words. Outline of the plan: This part should provide a clear overview of how the problem will be tackled to provide a third way that addresses the problem whilst mitigating the negative aspects of the two initial solutions presented. Path B plan assessment’s suggested word count =​500 words. Presentation of the elements of the plan: This should provide details as to how the plan will work and the benefits of the approach. It should also provide estimations of how the elements of the plan will meet the current 300,000€ funding needs of the festival. Path B plan assessment’s suggested word count =​1,000 words. A persuasive summary and conclusion: This should be a call to action that puts forward why the plan should be chosen by the organising committee. Path B plan assessment’s suggested word count =​500 words. Presentation assessment guide (Learning Path B)

Presentation of the plan: This element encompasses the same introduction, outline, plan elements and conclusion structure as the written report, but assesses the presentation of these elements as a whole. This enables the assessment to take account of individual styles of presentation. Presentation structure: This element assesses how participants have structured their presentation. Instructors should focus on the structure logic, clarity and visual impact of the presented elements. Presentation delivery: This element focuses on how participants delivered their presentation and communicated their ideas. Attention should be paid to the style, articulation and pace of delivery, and also the extent to which it persuades the organising committee that this plan is the ‘best’ solution. Session 1 instructions (2 hours) Step 1: Introduction to Terras sem Sombra Festival and task (1 hour)

One hour is suggested for the introduction to give instructors flexibility when incorporating the exercise into their teaching materials and participant learning

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level. For example, instructors could start the session by introducing broader issues affecting event and festival financial sustainability, such as different funding models for public and private events and how aspects such as commercialisation can affect authenticity and identity, before introducing the exercise. Instructors should familiarise themselves with the case materials and refer to the festival mission and aims and programme ‘at a glance’ boxes. Instructors should also draw attention to the music, heritage and biodiversity festival dimensions shown in Figure 23.1. The final part should focus on the presentation of the problem and the two polarising solutions that augment the learning task, leading participants into the challenge of finding a third way solution. To bring the Terras sem Sombra Festival to life, it is also recommended that instructors show participants one or two YouTube videos from past editions of the festival (see Further Reading). Step 2: Organise participants into groups

Groups should be numbered, and participants informed that the presentations in Session 2 will be conducted in ascending number order. Instructors should decide whether to randomly allocate groups or allow participants to choose their own groups.

FIGURE 23.1 Overview

Source: Authors.

of the Terras sem Sombra Festival dimensions.

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Step 3: Initial group discussion and idea generation (1 hour)

For the remainder of the session, participants should be instructed to read carefully the case study, discuss the issues presented and develop initial plan ideas. Instructors should circulate among the groups to answer any questions they may have during this part. Self-​directed study

Participants (in their groups) are expected to engage in self-​directed study to further develop their plan and presentation in preparation for the second session. For Path A, it is anticipated that students would meet in their groups at least twice and complete around two to three hours self-​directed study. For Path B, it is anticipated that students would meet in their groups several times and complete around five to six hours of self-​directed study. Participants will need to consider aspects such as the structure of the presentation and how the presentation will be delivered, including how many presenters will take part, particularly if the group size is large. For smaller groups, or situations where it is considered important for the participants to develop their presentation skills, instructors may wish to advise that all participants take part in the presentation. Session 2 instructions (2 hours) Step 1: Session introduction (10 minutes)

Instructors should give a short introduction to reiterate the order of the presentations and remind participants that they need to pay attention as they will be voting on the plans at the end of session. Participant questions can also be addressed at this point. Step 2: Group presentations (90 minutes based on 6 groups)

Presentations should follow the ascending order determined in Session 1. It is suggested that each group has 10 minutes for their presentation, followed by 5 minutes for questions. Instructors should enforce time limits for the presentations. It is not advisable for reasons of memory recall to ask the audience to save their questions until after all the presentations have been conducted. Where there are more than 5 presentations, it is advisable that instructors write down key bullet points about each plan, so that a short summary can be read out or viewed on a white/​smartboard before the final vote takes place. Step 3: Organising committee vote (10 minutes)

The next stage is for participants to vote on the plan that participants perceive to be the best solution to the problem. Participants should be instructed to vote freely,

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meaning that they can vote for another group’s plan if they wish. The aim here is to see if a consensus can be reached. In the event of a tie, a second vote should take place between the tied options. If it is still not possible to separate the remaining plans, then the exercise should move to the final step where the tied plans can be discussed and reflected upon. Voting can be done traditionally using paper votes or electronically using smartboard poll functions. Step 4: Reflective discussion (10 minutes)

The final part is intended for class discussion. For example, discussion could focus on what was the most difficult challenge the groups faced in developing their plan, or whether the exercise led to greater understanding of the complexities involved in running sustainable festivals and events. Case: Terras sem Sombra Festival Festival overview and mission

Created in 2003, the Terras sem Sombra Festival is a civil society initiative that aims to showcase the Alentejo region of Portugal. The region has one of the best cultural preservation rates in Europe and stands out for its environmental, cultural and landscape values. The Festival’s mission is to share and promote the cultural and natural legacy of the Alentejo region through a programme that showcases the unique territory and encourages cultural decentralisation through a focus on attracting new audiences. The Festival is also committed to social inclusion and sustainability, which are core values of the programme (see Table 23.1 and Table 23.2). The Alentejo region of Portugal

The Alentejo region is located in the centre-​south of Portugal and is the largest region in the country, covering 31,603 km² with 704,934 inhabitants (Statistics

TABLE 23.1 Festival aims at a glance

1. Promote dialogue between tradition and the principles that govern contemporary artistic creation. 2. Extend invitations to young composers and performers. 3. Promote accessibility of the arts. 4. Build bridges with academia and new technologies. 5. Rescue the musicological heritage. 6. Promote knowledge of the territories and involve local communities. 7. Support inclusivity within the festival programme.

188  Manuela Guerreiro and Neil Ormerod TABLE 23.2 Festival programme at a glance

• • • • • •

Classical music concerts. Master classes. Conferences. Visits to cultural heritage (tangible and intangible). Actions to safeguard biodiversity. Participation is always free.

Portugal, 2021). It is a mostly agricultural region, whose history, culture and traditions define its identity and where the preservation of these resources, not only in their physical and tangible dimension, but also intangible, guarantee an authentic, differentiating offer focused on sustainability. One festival, three dimensions

The Festival programme is widely recognised for its quality and it contributes to placing the Alentejo region on the European cultural agenda, promoting knowledge and memory of this territory. The Festival programme brings together the three dimensions shown in Figure 23.1. Music

The Festival features a programme based on classical music, with the participation of international and national artists and projects. Remarkable repertoires, ranging from the Middle Ages to contemporary times, are presented in churches and other monuments, chosen for their historical value and acoustic conditions in different municipalities across the region. Heritage

The Festival celebrates and promotes the safeguarding of tangible and intangible identity expressions of people and territory. Under the guidance of local experts, the heritage-​focused activities encompass different regional assets and expose visitors to the richness and cultural diversity of the region. Notable attractions include the Cante Alentejano (traditional Alentejo polyphonic singing) and the Chocalho (cowbells) which are included on the UNESCO World Intangible Cultural Heritage list. Other interests include civil, religious and archaeological sites, and traditional agricultural and fishing practices. Biodiversity

The organisers believe that promoting the landscape, ecosystems and natural resources of territories contributes to their appreciation and preservation. Thus,

The show must go on, but how?  189

local communities, the public and artists are invited to participate in nature-​based activities and actions that aim to direct attention to the most critical, interesting and genuine aspects of the territories with a view to raising awareness of the need to safeguard biodiversity. Case research problem

Terras sem Sombra is a publicly funded festival with an annual budget of around 300,000€. Although the festival received approval by the General Directorate of Arts for continued financial support for the programme, the organisers have been informed that the next edition of the festival cannot be financed from the State Budget due to financial constraints. The organisers are now urgently seeking ways of sustaining the festival in the absence of government support and are currently considering two divisive proposals. They have also granted time to some members of the organising committee who are convinced there must be a better third way to solve the problem. Proposal 1: Saved by an angel

A local wealthy business owner who recently moved to Alentejo has heard about the festival’s financial woes and wants to help. Angel investor and music lover Ms Bankmore says she can save the festival but only if the festival organisers agree to her business plan, which she argues is the only way for the festival to be sustainable in the long run. Her radical plan involves the following key changes: • The festival adopts a for-​profit, commercialised approach, focusing on the musical aspects of the festival but with donations to arts and environmental charities; • The introduction of entry fees for all adults; • The incorporation of her business branding on all festival digital and non-​digital marketing. The festival organisers are deeply divided on her plan, with some members in favour, arguing that Ms Bankmore is the only person putting money on the table to save this year´s festival. Others strongly disagree, arguing that her commercial plan will rip the heart out of the festival and change it beyond recognition. Furthermore, it has come to light that Ms Bankmore’s company was recently embroiled in a legal case with an ex-​employee which attracted significant media attention, despite Ms Bankmore being cleared of any personal wrongdoing. Proposal 2: Scale back

A second faction of the organising committee thinks that the best way to secure the festival’s future is to scale it back to its core elements and reduce the number of

190  Manuela Guerreiro and Neil Ormerod

locations that the festival is currently spread over to lower costs to a manageable level for communities. Proponents of this plan argue that this approach will preserve the identity and authenticity of the festival, which should be the primary focus in any solution to the festival’s financial security. However, they acknowledge their plan involves painful cuts and there is a danger the festival will lose its international identity. However, they propose that a hybrid approach of streaming the festival to local and global audiences may mitigate this aspect. Proposal 3: Another way …

A third group is vehemently against both proposals and is convinced that there must be another way to secure the festival’s future without it losing its authenticity, identity and current scale. In fact, the group believes that the current problems, whilst serious, are only a bump in the road, and that in the long run, the festival has a healthy future with untapped potential. The group has been given some time to come up with a plan they can present at the next committee meeting where a vote will be taken regarding the future direction of the festival. Acknowledgment

The authors’ contribution to this book is financed by National Funds provided by FCT- Foundation for Science and Technology through project UIDB/04020/2020. References /​Further Reading Regional development commission website (Comissão de Coordenação e Desenvolvimento Regional do Alentejo). www.ccdr-​a.gov.pt/​pote​ncia​lida​des-​estra​tegi​cas/​. Access Date: 10 May 2023. Statistics Portugal. (2021). Census 2021 –​ Preliminary Results Release, Available at: www.ine.pt/​xpor​tal/​xmain?xpid=​INE&xpgid=​ine_​de​staq​ues&DES​TAQU​ESde​st_​b​ oui=​526271​534&DESTAQ​UESm​odo=​2. Access Date: 10 May 2023 Terras sem Sombra website: https://​terr​asse​msom​bra.pt/​ Access Date: 10 May 2023. Terras sem Sombra YouTube channel: www.yout​ube.com/​@fest​ival​terr​asse​msom​bra1​375/​ about. Access Date: 10 May 2023.

Case 24 COST-​BENEFIT ANALYSIS OF CULTURAL EVENTS Made Handijaya Dewantara and Lakshi Senevirathna

Learning objectives

Upon completion of this case, participants will be able to: • • • •

define the meaning of the economic impact of hosting a cultural art event; define the main aim of the cultural art event project; evaluate the economic impact of cultural event; performing the economic impact of cultural events through cost-​benefit analysis (CBA); and • providing recommendations for event stakeholders according to the result of the CBA.

Duration

The time required to complete the task is around 120 minutes over two weeks. The distribution of tasks is as follows: • • • •

Phase 1: Observations and desk research for defining the objectives (20 minutes) Phase 2: Group discussions and brainstorming for creating the list (20 minutes) Phase 3: Group discussions for value estimation (40 minutes) Phase 4: Brainstorming and writing for concluding and providing recommendations (40 minutes)

DOI: 10.4324/9781003390381-24

192  Made Handijaya Dewantara and Lakshi Senevirathna

Target audience

The case study should be undertaken after a lecture session on event impacts. The case study focuses on evaluating the impact of a cultural art event. A cultural art event is defined as a special event that often displays multiple cultural expressions, including literature, visual arts, and performing arts (Davies et al., 2013). The main aim of this event is to promote cultural diversity. The event is often organized by the government and supported by the local community, individual artists, or cultural organizations—​ several examples of cultural art events include performances, workshops, exhibitions, and festivals. Participants from postgraduate students in tourism or event management are targeted to answer the case study. However, undergraduate students in their final year could also be participants. Before the case is delivered, students must be divided into 4 to 5 groups. Students are divided according to the number of cases. For example, we use two different case studies that need analysis. Each case needs a maximum of 10 and a minimum of 5 persons. Teaching methods and equipment

This case study requires a specific lecture (online or face-​to-​face) to clearly articulate the concept of cultural art events and their cost-​benefit analysis. A workshop can be conducted after the lecture to provide practical learning and improve techniques and skills. Students must be familiar with specific software or tools, such as Microsoft Excel, to perform the analysis. A report template is required to assist students in filling out the details for each item’s costs and benefits. Cost-​benefit analysis can be associated with economic impact analysis in the event sector as it allows a specific quantitative comparison between an event’s expected benefit and potential cost (Dwyer et al., 2016). In addition, this analysis is more relevant to helping event stakeholders weigh the cost of hosting an event against its potential benefits (such as employment or economic activity) to the local host community (Dwyer & Jago, 2020). Cost-​benefit analysis is an event impact assessment involving finding out each attribute of cost and benefit while hosting an event (Késenne, 2005). It is a systematic process of defining, quantifying, and analysing the event’s benefit (expected benefit) and cost (Fleischer & Felsenstein, 2002). According to Dwyer et al. (2016), cost-​benefit analysis is often used to evaluate any project that significantly benefits the host community and requires many resources during the implementation. There are at least four steps to running a cost-​benefit analysis, including defining the cultural art event’s objective, creating a list of expected benefits and potential costs, estimating and analysing the value estimation of each item, and providing a conclusion and recommendation (Dwyer, 2020; Dwyer et al., 2016; Fleischer & Felsenstein, 2002). The costs and benefits can be categorized as follows:

Cost-benefit analysis of cultural events  193

Costs • Capital investment in infrastructure related to the event. • Operational expenses (including event operating stages, event management, promotional tools, administration, and catering). • Environmental expenses (including carbon footprint, water pollution, air pollution, environmental degradation, and property damage). • Social expenses (including disruption to business, disruption to residents, road accidents, crimes, litter, noises, and crowds). • Other expenses related to an event incurred by government agencies (including fire and emergency services, road agencies, and police). Benefits • Payments to organizers (this may include sponsorships, ticket revenues, media payments, and advertising revenues). • The labour surplus includes the net benefit to local workers associated with the event (minus labour compensation and taxes). For example, when a destination event creates additional jobs, a labour surplus occurs if workers are employed at higher wages than they would accept. • A surplus (from residents’ businesses) refers to the local owner’s event-​related operating profit (return on local capital). Business surplus is the difference between the value of output and the cost of the factors of production (land, labour, capital). • Local household consumer surplus due to participation in relevant external events or activities (satellite events or public screenings). • Consumer surplus of local households resulting from participation in the event. In many events, the price attendees are willing to pay to attend the event exceeds the amount they must pay to attend, so attendees have a net profit from the availability of the event. • Ongoing (legacy) benefits of building assets for events. • Follow-​up benefits (brand benefits) for future visitors to the tourism industry.

Teaching instructions

The instructor must introduce a concept and detailed case study upon task completion. Then, the instructor divides the students into four groups depending on the available case studies. Before the group starts to discuss the case, the instructor must point out the importance of assessing economic impact through cost-​benefit analysis in a cultural art event. Next, the instructor must clarify why assessing cultural art events is necessary and what the impacts are after providing

194  Made Handijaya Dewantara and Lakshi Senevirathna

FIGURE 24.1 Steps

in cost-​benefit analysis.

the recommendation. Finally, each group member should fulfil their role for each analysis step. Figure 24.1 explains each step of the analysis. There are four main steps in creating a cost-​benefit analysis: Phase 1: Defining cultural art event’s objective

Defining an event’s objectives is crucial, as it can target to find out the purpose of assessment and analysis. Each team member must understand the purpose of the event, why the event must be undertaken, the stakeholders involved, and the reason for conducting the analysis. The objective of the event and analysis must be realistic, attainable, and specific. It needs to be aligned with the entire event’s project goal. To perform this phase, each member can consider the following steps: 1. 2. 3. 4.

Find out the purpose and theme of the event; Identify a measurable objective’s statement of the event; Elaborate on the expectations of assessment and analysis; Ensure that all items are aligned with each member’s goals.

Phase 2: Creating a list of expected benefits and potential costs

All team members must be responsible for listing all potential costs and expenses of the event as well as its expected benefits. Table 24.1 can help students identify and create a list of potential costs and expected benefit items. Students will be given a list of expected benefits and potential costs in this case study. However, the instructor can encourage students to find the items through desk research, document observations, or in-​depth interviews with event stakeholders. Research is essential to validate and explore other items not mentioned in the case. Phase 3: Estimating the value of each item

In this phase, the instructor will ask students to estimate the value of each item. If the value has been given, students can proceed to the analysis. However, if the value’s information is unavailable, students must research to determine every item’s monetary value. Any non-​monetary value can also be considered and translated into

Cost-benefit analysis of cultural events  195 TABLE 24.1 Example of expected benefit and potential cost in a cultural art event

Number 1 2 3 4 5 6 7 8 9 10 11 12 13

Potential Cost

Expected Benefit

Human resources Operation costs (stage, equipment, lighting, sound, etc.) Artists and performers fee Venue rental Insurance Marketing and promotion Food and catering Construction costs Technology and related equipment Accommodation and travel Permits and license Impact assessment and evaluation cost Other expenses (contingency, taxes, etc.)

Ticket sales Sponsorship Partnership Exposure and visibility Destination image Event organizer’s reputation Cultural artist communities Education and community outreach Collaboration opportunities Mental health impact Well-​being impact Networking Indirect impact (number of visitors and tourists)

an estimation. According to (Davies et al., 2013), evaluating an event with a cost-​ benefit analysis is rigorous when using insight into numbers (usually a hypothetical event budget). For this information, Brown et al. (2015) suggest that values will undoubtedly change over time, so there is a need for constant monitoring and adaptability. Table 24.2 shows an example of a table that can help the students estimate the value. Here are multiple steps for estimating the value of benefits and costs. 1. Identify any benefits and costs that need to be and are not included. Only include the items that significantly impact the cultural art event. 2. Insert the value estimation, if possible, and assign only the monetary value to be added to each benefit and cost item. It is recommended to put it into common currency such as US$ or AU$. The case study might provide the value of each item according to the accurate data. 3. If the item is categorized as non-​monetary, insert the value according to its proxies. For example, it estimates the value according to the general number in another similar event. 4. Estimation is necessary. Multiple secondary and industrial or historical data sources can be used to estimate actors’ opinions. 5. Re-​evaluation of estimates might help reduce the bias—​historical data changes due to market conditions, economic situations, or other factors influencing the event. 6. Find any level of risk that might involve determining factors influencing the estimation.

196  Made Handijaya Dewantara and Lakshi Senevirathna TABLE 24.2 Example of expected benefit and potential cost in a cultural art event with value

No 1 2

Potential Cost

Value Estimation ($)

Expected Benefit

Value Estimation ($)

Human resources Operation costs (stage, equipment, lighting, sound, etc.) Artists and performers fee Venue rental

2,000 3,500

Ticket sales Sponsorship

30,000 10,000

4,500

Partnership

1,000

3,750

750

Insurance Marketing and promotion Food and catering

1,000 1,250

8

Construction costs

1,150

9

Technology and related equipment Accommodation and travel Permits and license Impact assessment and evaluation cost Other expenses (contingency, taxes, etc.)

4,520

Exposure and visibility Destination image Event organizer’s reputation Cultural artist communities Education and community outreach Collaboration opportunities

125

7,250

Mental health impact Well-​being impact

2,520

Networking

2,500

1,250

Indirect impact (number of visitors and tourists)

3,000

3 4 5 6 7

10 11 12 13

Total Value

2,000

3,250

37,940

250 500 550 250 150

115

49,190

Table 24.2 shows several components that exist in the costs and benefits of an event. Values were adopted from several interviews with event stakeholders in Southeast Asia. Some vital information can be retrieved. First, the most oversized expected cost item is operation costs (stage, equipment, lighting, sound, etc.), followed by human resources. Second, the item with the most significant expected benefit is ticket sales, followed by sponsorship. Based on a comparison between costs and benefits, the total benefits appear more prominent than the costs. There is a gap of $11,250 between the benefits and costs. Based on this, this example means the event has high benefits and low costs.

Cost-benefit analysis of cultural events  197

Phase 4: Providing a conclusion and recommendations

Based on the previous phase, students can now provide event stakeholders with recommendations. This phase can be performed through the following steps: 1. Deliver a concise conclusion according to the cost-​benefit analysis by showing essential items and the matrix results; 2. Describe any gaps and uncertainties, including limitations such as data. This description includes how the gap impacted decision-​making; 3. Develop recommendations for each actor in event management; 4. Consider another option. Be prepared to consider different options and modify the recommendations if necessary; 5. Monitor the progress of the cultural art event and track results to ensure that it meets the objectives; 6. Regularly review the cost-​benefit analysis to ensure that costs and benefits are relevant and accurate if the cultural art event is held annually. Case

A regular national cultural event in a famous destination in Indonesia has been held since the 1970s. This festival usually lasts a whole month and involves thousands of national and international artists. This year, the provincial government wants to re-​evaluate the festival in 2023. Two parts of the event need to be evaluated: the contemporary dance festival and the Indie Music Competition. The government and stakeholder actors in these two events need recommendations based on solid analysis to determine whether these two events could be held in the following year. Below are the details and conditions for each of the two events. Contemporary Dance Festival

This festival will be held for the first time in 2022. This festival aims to revive the extinct traditional dances. Cultural conservation is this festival’s main objective, so artists are asked to combine traditional dances with existing modern dances. Two hundred dancers are invited in exchange for a wage of $1,000 each. The number of dancers is relatively high, to escalate the festival’s impact. Organizers also must rent a venue for three days of the festival with an estimated budget of $50,000. Organizers and the traditional dancers’ community hope this event can arouse tourists’ interest in returning to vacation. One of the considerations is that Indonesia was affected by the Covid-​19 pandemic due to the closure of international borders. For that purpose, they improved the sound and lighting quality to almost $25,000. They also carry out promotions, advertising, and exceptional marketing strategies for this festival. The budget for the implementation of the marketing strategy reaches $30,000. Furthermore, events were held during three days, increasing the costs for catering and cleaning, reaching $25,000. Moreover, the organizers must

198  Made Handijaya Dewantara and Lakshi Senevirathna

also pay a licensing fee of $10,000 and allocate $40,000 for security, safety, and risk management. The organizers noted that this event was quite flourishing. Some of the benefits they feel can be recorded in numbers. Even so, several benefits cannot be measured through monetary value. For example, the organizers sell 1,000 tickets to local and regional visitors for a net price of $200. In addition to profits from ticket sales, the organizers also receive sponsorship funds in partnership revenue of $50,000. On the other hand, the organizers also calculated the rate of increase in the economy around the area where the festival was held, which managed to increase by $100,000 during the three days of the event. In addition, some sponsors are also interested in securing a $50,000 cultural development fund for cultural and artistic preservation. Furthermore, the organizers and event organizers noted an increase in the value of public image and reputation, which they were able to measure with a value of $10,000. Based on the information presented above, assess the economic impact of this event using a cost-​benefit analysis framework. Then, carry out the four stages to produce a table containing items, values, and the scores of costs and benefits. Finally, convey the conclusions and recommendations on continuing this festival for the following year. Indie Music Competition

The Indie Music Competition has been part of the cultural art festival since 2019. This competition is for musicians from within or outside the destination if they still use local culture and languages. Music competitions aim to maintain the passion for music of the younger generation. This competition also provides a place for musicians to perform their songs. The organizers are trying to attract even greater visitor interest in 2022. They then invite well-​known national musicians from both outside the island and abroad. As a result, the number of visitors has increased compared to 2019. Unfortunately, the competition was stopped in 2020 and 2021 due to the Covid-​19 pandemic. This music competition also results in increasing tourist visits, especially domestic tourists. Hotel occupancy rates and the opinion of restaurants around the venue were also positively affected. In terms of costs, the highest costs are fees that must be paid to foreign artists and to the capital who are brought in to enliven this event. The amount of the fee paid reaches $100,000. In addition, the organizers also must rent stage equipment at a total cost of $35,000. Stage rental is also one of the cost components, which is quite large, amounting to $20,000. The organizers must also provide catering, drinks, and transportation money to volunteers and event supporters if the total reaches $35,000. This competition attracted the participants’ interest, so the organizers did not allocate promotional and advertising costs too high. Even so, the organizers must allocate $20,000 for marketing strategy purposes. The organizer must also incur other costs, such as a risk management fee of $10,000. Licensing fees must also be issued for up to $5,000. Finally, the organizers also pay for security and

Cost-benefit analysis of cultural events  199

protection for the safety of participants with a budget of up to $45,000. The event organizers have not yet calculated several costs. This event obtained some benefits and income. The primary income comes from the role of sponsors who contribute $100,000. Sponsorship comes from several companies which partner with famous artists invited to this competition. Even though the number of sponsorships received is quite large, the organizers do not benefit enough from ticket sales. Only 500 tickets were sold to visitors, with a net price per ticket of $50. The small ticket price is due to most visitors being residents in the vicinity of the venue. Income is also obtained from registration fees paid by competition participants. A total of 30 groups of musicians participate in this competition. Each of them is required to pay a registration fee of $50. Therefore, the organizers also benefit from the fees paid by musicians. Nonetheless, the organizers believed the competition should continue the following year. Some of the reasons include the existence of non-​monetary benefits. These benefits include increasing economic turnover around the venue during the competition. In addition, this event also positively impacted the region’s reputation as a music event organizer. Therefore, based on the cost and benefit elements that have been discussed, carry out an economic impact analysis on the implementation of this event using a cost-​benefit analysis. Acknowledgment

The authors would like to acknowledge Associate Professor Xin (Cathy) Jin for her constructive comments on developing this case study. References /​Further Reading Davies, L., Coleman, R. & Ramchandani, G. (2013). Evaluating event economic impact: Rigour versus reality? International Journal of Event and Festival Management, 4(1), 31–​42. https://​doi.org/​10.1108/​175829​5131​1307​494 Dwyer, L. (2020). Economic assessment of special events: A perspective article. Tourism Review, 75(1), 191–​193. https://​doi.org/​10.1108/​TR-​02-​2019-​0071 Dwyer, L. & Jago, L. (2020). The economic contribution of special events. In The Routledge Handbook of Events, 2nd ed., Vol. 2, 171–​188. Routledge. P:/​eProduction/​WIP/​ 9780415583343/​dtp/​9780415583343.3d Dwyer, L., Jago, L. & Forsyth, P. (2016). Economic evaluation of special events: Reconciling economic impact and cost–​benefit analysis. Scandinavian Journal of Hospitality and Tourism, 16(2), 115–​129. https://​doi.org/​10.1080/​15022​250.2015.1116​404 Fleischer, A. & Felsenstein, D. (2002). Cost-​benefit analysis using economic surpluses: A case study of a televised event. Journal of Cultural Economics, 26, 139–​156. https://​doi. org/​10.1023/​A:101444​7018​099 Késenne, S. (2005). Do we need an economic impact study or a cost-​benefit analysis of a sports event? European Sport Management Quarterly, 5(2), 133–​142. https://​doi.org/​ 10.1080/​161847​4050​0188​789

Case 25 STAYING SANE, SAFE AND WELL IN THE EVENTS INDUSTRY Raphaela Stadler, Trudie Walters and Allan Jepson

Learning objectives

Upon completing the case, students will be able to: • explain different ways to well-​being for event professionals; • identify sustainable human resource management (HRM) principles and discuss their application to the events industry; and • develop recommendations for events industry employers that emphasise employee well-​being. Duration

Approximately 60 minutes in total, plus optional assessment task. Phase 1: 15–​20 minutes Phase 2: 20–​25 minutes Phase 3: 15–​20 minutes Target audience

Our case applies the Five Ways to Wellbeing in an events context and discusses their wider value as a tool for sustainable human resources management (HRM). As such, this case is suitable for events, tourism, management or HRM students. The application of the case following a lecture on HRM in events would result in a more in-​depth understanding of the stressful event work environment and its

DOI: 10.4324/9781003390381-25

Staying sane, safe and well in the events industry  201

impact upon employees’ mental health and well-​being. If there is no opportunity to deliver a lecture before delving into the case study, as a bare minimum, students should be encouraged to read the suggested article in advance (Stadler et al., 2022). The case is designed for 20–​25 students at second-​or third-​year undergraduate level, but could equally be given to postgraduate students. It requires them to be divided into five groups. For larger groups, several teams can do the same well-​ being activity, then compare and discuss their experiences. The optional assessment task can be used as either a group or an individual assessment. Teaching methods and equipment

Ideally, this case should be taught on a busy and stressful day for students, for example, if they have already had two or three other lectures and seminars on the same day, have an assignment due, or as part of an all-​day class or workshop. This will allow students to experience first-​hand the benefits of participating in the well-​ being activities suggested in Phase 1. The case uses well-​being activities, reflexive class discussion and group work as teaching methods. It is based on the Five Ways to Wellbeing framework, namely Connect, Be Active, Take Notice, Give and Keep Learning, and allows students to assess its use as a tool for sustainable HRM in the events industry. Therefore, in Phase 1, students will experience five different well-​being activities. Some groups will be asked to leave the classroom and find a nice space for their activity; others will participate in creative or mindful tasks. Further equipment needed for the activities includes: some arts and crafts tools (coloured paper, crayons, coloured pencils or pens, scissors, glue, stickers, ribbons, textiles, Sellotape etc.) for group 4; and a few Sudoku and/​or crossword puzzles for group 5. For Phase 2, copies of the Sustainable HRM framework (see below) should be provided for each group, along with flip charts and markers for Phase 3. If the instructor chooses to include an assessment based on the session, they will need to obtain an HR policy from an event organisation in advance and provide this to students in digital or hard copy format, along with the assessment task information provided below. Teaching instructions

Table 25.1 presents a lesson plan and overview of the different tasks, roles and timings for each phase of the case. Further details and teaching instructions for each task are provided below. The three phases of the case are explained here in detail, based on the assumption that the case is carried out with five groups of students. Approximately a week

202  Raphaela Stadler, Trudie Walters and Allan Jepson TABLE 25.1 Case plan

Task

Roles

Timings

Preparation -​Read the article: Stadler, R., Walters, T., & Jepson, A. (2022). Sustainable Humans: A Framework for Applying Sustainable HRM Principles to the Events Industry, Event Management, 26(8), 1817–​1832. Brief introduction to the topic and the case -​Define aims and objectives; learning outcomes Phase 1: Well-​being activities -​Participate in the well-​being activities -​Discuss individual/​group experience Phase 2: Class discussion -​Compare experiences -​Discuss them in relation to the sustainable HRM framework Phase 3: Group work -​Develop a Dos/​Don’ts list for event organisers Optional assessment task

Students

Before class

Instructor

5 minutes

Students (5 groups)

15–​20 minutes

Everyone; facilitated by the instructor Same groups as before

20–​25 minutes

Instructor to introduce/​ explain the task

5 minutes

15–​20 minutes

before the execution of the case, the instructor should remind students to read the following article for preparation: Stadler, R., Walters, T., & Jepson, A. (2022). Sustainable humans: A framework for applying sustainable HRM principles to the events industry, Event Management, 26(8), 1817–​1832. https://​doi.org/​10.3727/​15259​9522​X164​1994​8694​757 At the beginning of the session, the instructor might want to provide a brief introduction to the topic, the case and the learning aims and objectives. Research has shown that the way people are managed at work has a profound influence on their well-​being. However, this is often overlooked –​particularly in the stressful and deadline-​driven events industry. The heavy workload, time pressure, role stressors, job insecurity and work–​family conflict can potentially lead to professional burnout. Several ways to tackle this issue have been suggested, and many events industry

Staying sane, safe and well in the events industry  203

businesses are now realising that focusing on their employees’ mental health and well-​being in a more sustainable way can have long-​term benefits and contribute to the success of the business. One tool for achieving this is the Five Ways to Wellbeing, a framework created in 2008 by the UK’s New Economics Foundation. The framework proposes a range of meaningful actions and activities in five categories (the Five Ways) that help people flourish. The Five Ways are: Connect, Be Active, Keep Learning, Give and Take Notice and the suggested actions can be implemented both at home as well as in the workplace. Research has found that employees who participate in a workplace Five Ways to Wellbeing programme provided by their employer are able to reduce their stress levels, meaning they can thrive and flourish at work. The beauty of the Five Ways framework is that it provides a range of different actions, so there is something for all tastes and needs. For further information on the Five Ways, resources and suggestions, see the resources provided by Health in Mind (n.d.). Phase 1

After a brief introduction, students are randomly and equally divided into five groups. The groups are provided with one well-​being activity each and instructed to work through the activity (as described in the below Case section) for approximately 10 minutes, then discuss their experience as a group for another 5 minutes before returning to the classroom. The activities are easy to understand, and it is important for students to work through them on their own with little to no guidance from the instructor. The aim is for students to experience first-​hand the benefits of taking a short break during a stressful day, focus their attention on a specific (non-​work related) task, connect with others, notice their surroundings, recharge their batteries and minds, and ultimately enhance their well-​being. Phase 2

Upon returning to the classroom, ask each group to briefly share their experiences during their allocated activity, including how they felt and what they learned. Then facilitate a more in-​depth discussion on how the activities can contribute to more sustainable HRM practices in an event organisation. Students should be encouraged here to relate their experiences back to the article they have read in advance and, in particular, the sustainable HRM framework. Some guiding questions for the discussion include: • As an events industry employee, would a well-​being activity like the one you just participated in help you connect with others? How can this contribute to more sustainable relationships in the workplace?

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• If your employer allowed for such activities to take place in the workplace as and when needed, would you feel like they care for you and your well-​being? In what way can this contribute to more long-​term support? • What might be the challenges in implementing such practices in an events organisation and how can they be overcome? • Would you be more drawn to an employer who offers this creative and supportive workplace culture? Why/​why not? What other best practice examples can you think of that would contribute to your mental health and well-​being at work? • What else is needed in the events industry to develop more awareness and understanding around mental health and well-​being? Common mistakes here might include students coming up with very creative ideas that are difficult to implement in the stressful and deadline-​driven events industry. Guiding them through very specific examples of how employers can demonstrate care within the workplace is important. For instance, simple things like allowing open discussions about mental health to take place not just amongst colleagues but also with line managers or supervisors, fostering a culture of trust and friendship, and creating an “it’s OK not to be OK” culture, are crucial first steps in developing more awareness and understanding around mental health and well-​being in the workplace. In a second step, specific HRM and well-​being policies, practices and initiatives can then be implemented. This phase should take approximately 20–​25 minutes and the discussion should be in-​depth and critical. Encourage each group to contribute at least one argument and one counterargument to the discussion. Phase 3

Based on the classroom discussion, split the class again into the five groups and provide flip charts and markers for each group. Ask them to develop one list of dos and one list of don’ts for events industry employers who want to recognise and improve mental health and well-​being in their organisation. Again, instruct them to be as specific as possible. For example, how can the above-​mentioned “it’s OK not to be OK” culture actually be created and maintained? What specific tools and practices might employers and line managers use when trying to create more open discussions around mental health? The Five Ways to Wellbeing can be used here for further guidance and specific activities. This phase should take around 15–​20 minutes. At the end, each group should have a list of dos and don’ts that they can take away and apply in practice and in their future career. It will also help them with the proposed optional assessment task below. If the instructor wishes to finish the session with no further assessment, a brief summary and comparison of the different dos/​don’ts lists should be attempted.

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Relating them back to the sustainable HRM framework will nicely round off the debate and offer key takeaway points for students. If the instructor wants to add an assessment task based on the learnings from this case study, the following assessment brief should be introduced and explained to students at the end of the session. Optional assessment task

For this assessment task, it is essential for the instructor to acquire an HRM policy from an events industry business or organisation in advance. Obtaining two or three different policies would allow students to do a comparison between, for example, one from an events agency, one from a conference venue, and another one from a supplier. The instructor can choose whether the task is carried out as either an individual or a group assessment. The students should use what they have learned in class, supported by relevant academic literature, to write a 2,000-​word formal report identifying and discussing elements of the HRM policy that do/​do not support sustainable humans in the events industry. They should be critical in their analysis. Students should then provide a set of recommendations for the business or organisation to make their HRM processes and practices more sustainable. Their aim is to convince the business or organisation that this will help them become an “employer of choice” and hence contribute to their long-​term success and the events industry as a whole. A very good piece of work will identify best practices, as well as challenges and issues, and discuss them in relation to both the short-​and long-​term success of the organisation. An excellent report will also discuss wider implications for the events industry as a whole. A very good piece of work will focus on realistic, actionable recommendations for employers. An excellent piece of work will include a brief discussion of how these recommendations will lead to more sustainable HRM practices, and the implications of the business or organisation becoming an “employer of choice”. Case Phase 1: Well-​being activities Group 1: Connect activity

As a group, go sit outside or in a more comfortable space for 10 minutes and ask someone in the group how their weekend was. Take turns and really listen when they tell you. Then spend another 5 minutes discussing as a group how that made you feel and what you enjoyed about the activity before returning to the classroom.

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Group 2: Be Active activity

As a group, go for a 10-​minute gentle stroll around campus (weather permitting) or find a more comfortable space and try some stretches. Then spend another 5 minutes discussing as a group how that made you feel and what you enjoyed about the activity before returning to the classroom. Group 3: Take Notice activity

As a group, go find a nice space outside the classroom. Sit quietly for 10 minutes and notice your surroundings. For example, look at a beautiful object, out the window, or at the trees. Then spend another 5 minutes discussing as a group how that made you feel and what you enjoyed about the activity before returning to the classroom. Group 4: Give activity

As a group, use the arts and crafts tools provided and spend 10 minutes making a small present or a thank-​you card for the other groups. Be creative. Then spend another 5 minutes discussing as a group how that made you feel and what you enjoyed about the activity. Group 5: Keep Learning activity

As a group, spend 10 minutes doing one of the Sudoku or crossword puzzles provided. Make it a team effort to solve the puzzle. Then spend another 5 minutes discussing as a group how that made you feel and what you enjoyed about the activity. Phase 2: Reflexive class discussion

Based on the well-​being activities you have just participated in and the article you have read, reflect on your experience. Discuss how the Five Ways to Wellbeing can effectively contribute to a more sustainable approach to HRM in event organisations. Use the framework below for guidance (see Figure 25.1). Your instructor will provide more specific questions for you to think about and discuss as a class. Phase 3: Group work

In a final step, work again in your groups to develop a list of “Dos and Don’ts” for events industry businesses or organisations that want to make a conscious effort to recognise and improve their employees’ well-​being, both in the short and long

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FIGURE 25.1 Sustainable

HRM in the events industry.

Source: Stadler et al., 2022, p. 1827; Reprinted with permission from Cognizant Communication Corporation.

term. Make sure your suggestions are in line with the sustainable HRM principles discussed in the article, and are also realistic and achievable. Assessment task

Your instructor has provided you with an HRM policy from an events industry business or organisation. Based on what you have learned in class, and using relevant academic literature to support your argument, write a formal report that addresses the following: 1. Identify and critically analyse the elements of the selected HRM policy that do/​ do not support sustainable humans in the events industry. You should use the sustainable HRM framework to structure and focus your analysis. 2. Based on your analysis, provide specific recommendations for improvement that the business or organisation can use to create more sustainable HRM practices. Your goal is to convince them that adopting these recommendations will help them become an “employer of choice” and hence contribute to their long-​term success and the events industry as a whole. You may wish to use the list of dos and don’ts created in class as your starting point, and adapt them to the size, structure and culture of the business or organisation. Word count: 2,000 words. Structure: Formal report; Executive summary, list of figures/​tables, full contents list with page numbers, full list of references, appendices for supporting evidence

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References /​Further Reading Health in Mind (n.d.). Your 5 ways to wellbeing. Available from www.hea​lth-​in-​mind.org. uk/​resour​ces/​5-​ways-​to-​wellbe​ing/​. Access Date: 06.08.2023. Litchfield, P., Cooper, C., Hancock, C., & Watt, P. (2016). Work and wellbeing in the 21st century. International Journal of Environmental Research and Public Health, 13(11), 1065. DOI: https://​doi.org/​10.3390/​ije​rph1​3111​065 Odio, M. A., Walker, M., & Kim, M. (2013). Examining the stress and coping process of mega-event employees. International Journal of Event and Festival Management, 4(2), 140–​155. DOI: https://​doi.org/​10.1108/​175829​5131​1325​908 Stadler, R., Walters, T., & Jepson, A. (2023). “Work it, Work it non-​stop” –​ Event industry employees’ unconscious application of the five ways to wellbeing. International Journal of Festival and Event Management, 14(1), 41–​55. DOI: https://​doi.org/​10.1108/​ IJEFM-​07-​2022-​0057 Stadler, R., Walters, T., & Jepson, A. (2022). Sustainable humans: A framework for applying sustainable HRM principles to the events industry. Event Management, 26(8), 1817–​ 1832. DOI: https://​doi.org/​10.3727/​15259​9522​X164​1994​8694​757 Stadler, R., Walters, T., & Jepson, A. (2021). Stress, Mental Health and Well-​Being in the Events Industry: Report of Key Findings, September 2021. Available from https://​eve​ ntsa​ndwe​llbe​ing.wordpr​ess.com/​curr​ent-​resea​rch-​proje​cts/​2021-​eve​nts-​indus​try-​wellbe​ ing-​insig​hts-​proj​ect/​. Access Date: 06.08.2023.

Case 26 DO YOU THINK ICT-​ENHANCED PERFORMANCES ARE REALLY ‘LIVE’ MUSIC? Adrian Bossey

Learning objectives

The case contains four learning objectives to support students in gaining new knowledge, skills and competencies. Upon completion of this case, participants will be able to: • recognise characteristics of audience motivations to attend live music; • compare oppositional ideological positions regarding liveness; • explore a scale of viewpoints for information communications technology (ICT)-​enhanced live music performances; and • demonstrate the importance of accessibility for people who are Deaf or disabled to live music. This case can also act as an introduction to /​refresher on quantitative research methods in analysing survey findings. Duration

The case takes approximately 45 minutes and is broken down as follows: Phase 1 A) Introduction to session: (3 minutes) B) ‘Spark activity’ utilising online forum (5 minutes) C) ‘Micro lecture’ on audience motivations for attending live music events (5 minutes) D) In-​class ‘reflection activity’; verbal comments on individual motivations for attending live music events (2 minutes) DOI: 10.4324/9781003390381-26

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Phase 2 A) ‘Micro lecture’ on liveness for live music (5 minutes) B) In-​class ‘task activity’; completion of online survey (5 minutes) C) Sharing and discussing results of online survey (5 minutes) as a ‘reflection activity’ Phase 3 A) ‘Micro lecture’ on accessibility for live music (5 minutes) B) In-​class ‘reflection activity’; completion of online forum (5 minutes) C) In-​class discussion as ‘consolidation activity’ (5 minutes) There is no expectation that students will be required to get involved in any additional outside class activities in between different phases of implementation. However, the case can be further supplemented with short films and/​or readings, ‘task activities’ and ‘reflection activities’ related to the latest examples of information and communication technologies (ICT)-​enhanced music performances, perhaps including format innovations like Vocaloids or haptic dance floors if a longer 1-​ hour session is required. Target audience

This case delivers teaching and learning activities which are designed to provide background knowledge on requisite subjects and concepts. It is targeted at undergraduate students of ‘Events Management’, ‘Music’ or related subjects and is designed to facilitate group discussion amongst a cohort of up to 24 students. The case does not require background knowledge on additional subjects or concepts prior to its execution, although a keen interest in live music is helpful. Teaching methods and equipment

The case is divided into three distinct sections as follows: Phase 1: Introduction/​Audience Motivations Phase 2: Liveness Phase 3: Accessibility for people who are Deaf or disabled These phases are further subdivided to align with a five-​step approach by including an initial ‘spark activity’ designed to engage students with the topic and activate prior experience. Each phase includes a ‘micro lecture’ to support students to acquire factual or theoretical knowledge relating to the topic. A ‘task activity’ is included where students explore a topic or apply their new knowledge. The case facilitates reflection on what students have learnt, whether/​how their understanding of the topics has altered, and ultimately whether this may change their practices moving forward. It concludes with a ‘consolidation activity’ where

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students come back together to share what they have learnt and benefit from collaborative learning. The case needs to be carefully timed to run to schedule and can be delivered in an on-​campus format or as a synchronous online session. For an on-​campus session, instructors would require a level teaching space, laid out for group work, where you can access online content and project it onto a screen. For an online session, there will be a need to set up a taught session on an appropriate platform like Microsoft Teams or Zoom and ensure that the moderator knows how to manage breakout groups in online classes. For either format, access will be required to a virtual learning environment and students will require desktops, laptops or handheld devices in order to access the online content. Teaching instructions

To prepare for the session (in both on-​campus and online formats) instructors will need to set up a forum on the course’s virtual learning environment to facilitate individual student responses and text-​based discussion. This should include the following instruction: Please use this forum to list your ‘top 3’ ingredients for an authentic music festival experience (for example, mine might be music, merriment and mud!). Please read your fellow students’ replies and get ready to debate the future of live music! Instructors will also need to prepare three ‘micro lecture’ presentations. Furthermore, an online questionnaire will need to be set up on a platform such as Microsoft Forms or Survey Monkey. This should be easy and quick to do. Please include Table 26.1 for a sample survey formatted using a Likert scale: Once the instructor has prepared resources and set up the session, they should then organise students into one cohort group for the start of the session. The steps of execution for implementing the case are as follows: Phase 1

Following a brief introduction to the case to explain the purpose of the session and sharing learning outcomes, students can be asked to independently complete an online forum in class as a ‘spark’ activity. Instructors then provide the whole cohort with an overview of audience motivations as their first ‘micro lecture’. This should cover theory relating to attendee motivations, including Perron-​Braulta et al. (2020). Finally, students should be, at this phase, encouraged to engage in a very brief, light touch, whole group ‘reflection activity’ by sharing their analysis of their own primary motivation for attending live music events. This is intended to

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provide some exemplars of reflection and so it is not necessary for every member of the group to share their reflections at this stage. Phase 2

Firstly, students will be delivered a ‘micro lecture’ covering concepts around liveness for live music. Here instructors can consider Phelan (1993), Auslander (2008 & 2012), and perhaps Sanden (2019). The lecture should also define ICT and consider the growth of digitisation in the music industry to potentially include Askin and Mol (2018). Then, students can be asked to independently carry out a ‘task activity’ by completing the online questionnaire regarding viewpoints of a performance at a music venue or music festival. Once enough time has been allowed for the majority of students to complete the questionnaire, instructors can share their view of the frequency of results (as the ‘owner’ of the online survey) ‘live’ on the on-​campus projection screen, or by sharing the screen online for a synchronous online format. This will enable students to see their individual responses being amalgamated into cohort results in real time, which works well to further engage them with the process and will mean that the results can be discussed as they are shared. This is intended to inform a discussion of the issues raised. For larger groups, instructors could subdivide the group/​use breakout groups for this ‘reflection activity’. Phase 3

This phase should start with an introduction to accessibility to live music for people who are Deaf or disabled. This should cover relevant national equality legislation; national statistics regarding the proportion of the national population who identify as being Deaf or disabled; a definition of accessibility, perhaps from Finkel et al. (2019); and a consideration of potential ICT-​enhanced mitigations, possibly drawing on Bossey (2020). Following this ‘micro-​lecture’, students individually return to the online forum (whilst in class) to follow an instruction to: Please comment on whether any of the ‘top 3’ ingredients you previously listed might actually exclude people who are Deaf or disabled. The case ends with a ‘consolidation activity’ formatted as an in-​ class group discussion which responds to the question: Do you think ICT-​enhanced performances are really live music, and if so, do you think that some ICT-​enhanced viewpoints could potentially help mitigate challenges to accessibility to live music for people who are Deaf or disabled?

Do you think ICT-enhanced performances are really ‘live’ music?  213 TABLE 26.1 A sample survey

Please indicate the extent to which you feel the following perspectives of a performance at a music festival would represent an authentic ‘live’ experience: Strongly Agree Experiencing the performance on-​site, in real time, without ICT augmentation Experiencing the performance on-​site through a handheld device Experiencing the performance on-​site on a video screen Experiencing the performance on-​site while utilising immersive subtitles on a video screen Experiencing the performance on-​site while utilising hearing loops through a hearing aid Experiencing the performance on-​site while standing on an interactive haptic flooring system which transforms sound into felt vibration Experiencing the performance on-​site while wearing an interactive haptic vest which transforms sound into felt vibration Experiencing the performance on-​site while talking to friends Experiencing a live stream of the performance remotely at a cinema Experiencing a live stream of the performance remotely at home with friends Experiencing a live stream of the performance remotely at home alone

Agree

Neither

Disagree

Strongly Disagree

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Case

There are a variety of audience motivators for attending music festivals; however, the most frequent have been said to relate to ‘socialization and musical content’ (Perron-​Braulta et al. 2020: 1). When we consider our viewpoints of musical performances, our perception as to whether they feel authentically live may also act as a motivator to engage with/​attend concerts or music festivals. In his text on live performances, Auslander (2008) used an Oxford English Dictionary definition of ‘liveness’ as ‘a performance, heard or watched at the time of its occurrence, as distinguished from one recorded on film, tape, etc’. However, as we shall see, ‘liveness’ is a very contentious subject, particularly in regard to the co-​location (or otherwise) of audience and performer in place and time, for any given viewpoint or performance format. The ongoing introduction of new formats for ICT-​enhanced ‘mediatised’ live performances will further complicate the liveness debate. However, we cannot assume that all attendees or potential attendees will automatically benefit from equal access to concerts or music festivals. For people who are Deaf or disabled, accessibility is defined as: ‘measures put in place to address participation by those with impairments’ (Finkel, Sharp & Sweeney 2019: 2) and can sometimes be facilitated by accessible ICT solutions. To ensure equality of experience in these circumstances, the importance of positive audience perceptions regarding the liveness of their viewpoint of a musical performance is further magnified. This case is carefully designed to support you to activate your prior experience of attending live music performances and gain additional knowledge relating to audience motivators, liveness, ICT viewpoints and accessibility for people who are Deaf or disabled. Task activities are included to help you explore topics or apply your new knowledge, and there will be opportunities for you to reflect on your learning and benefit from collaborative learning. You will also be invited to complete a Likert scale measuring perceptions of liveness for ICT-​enhanced performances at, or emanating from, music festivals, which has been devised by the author during a series of research projects. Please engage fully with the group discussions and text-​based forum within this case as they are important to help you achieve its learning outcomes. Following your participation in this case, you may wish to explore the References and Further Reading list provided. This is intended to direct you to books and articles relating to topics covered in the case. References /​Further Reading Askin, N. & Mol, J. (2018). Institutionalising authenticity in the digitized world of music frontiers of creative industries: Exploring structural and categorical dynamics. Research in the Sociology of Organizations, 55, 159–​202. https://​doi.org/​10.1108/​S0733-​558​X201​ 8000​0055​007

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Auslander, P. (2008). Liveness: Performance in a Mediatized Culture. Abingdon: Routledge. Auslander, P. (2012). Digital liveness: A historico-​philosophical perspective. A Journal of Performance and Art, 34(3), 3–​11. Bossey, A. (2020). Accessibility all areas? UK live music industry perceptions of current practice and ICT improvements to accessibility for music festival attendees who are Deaf or disabled. International Journal of Event and Festival Management, 11(1), 6–​25. https://​doi.org/​10.1108/​ijefm-​03-​2019-​0022 Finkel, R., Sharp, B. & Sweeney, M. (2019). Accessibility, Inclusion, and Diversity in Critical Event Studies. Abingdon: Routledge. Perron-​Braulta, A., Grandpreb, F., Legouxa, R. & Dantasa, D. (2020). Popular music festivals: An examination of the relationship between festival programs and attendee motivations. Tourism Management Perspectives, 34, 100670. https://​doi.org/​10.1016/​ j.tmp.2020.100​670 Phelan, P. (1993). Unmarked: The Politics of Performance. Abingdon: Routledge. Sanden, P. (2019). Rethinking Liveness in the Digital Age. Cambridge: Cambridge University Press. https://​doi.org/​10.1017/​978131​6676​639.017

Case 27 ENGAGING DOG OWNERS THROUGH WILDLIFE AVERSION TRAINING DogFest Aaron Tkaczynski, Sharyn Rundle-​Thiele and Megan Foster

Learning objectives

Upon completion of this case, participants will be able to: • understand the need to increase rates of wildlife avoidance; • identify and evaluate which are the best data collection and analysis methods to understand which segments attended a dog festival; and • design and present an event evaluation plan to the dog festival organiser.

Duration

Between 150–​180 minutes. • Step 1 –​ Understand the need for wildlife aversion training –​ (individual) (10 minutes). • Step 2–​Research plan for a dog festival focusing on wildlife aversion training –​ (individual and group) (40 minutes). • Step 3 –​Design of a research plan to evaluate the effectiveness of an upcoming dog festival that aims to raise awareness of, and participation in, wildlife aversion training –​(group) (60 minutes). • Step 4 –​Presentation of the dog festival research plan –​(group) 10 minutes each (60 minutes).

DOI: 10.4324/9781003390381-27

Engaging dog owners through wildlife aversion training  217

Target audience

This case would best suit undergraduate students who are studying business courses such as events and marketing. Although it is expected that students may know about dogs as pets, it is not expected that students need to currently have, or have ever, owned a dog. It is not expected that the students will have background knowledge on wildlife aversion training. However, through attending past events such as music festivals or community celebrations, it is expected that the students should have some basic knowledge of festivals. Students should also have an introductory understanding of market research. An ability to present in front of other students will be a strength. Students should also have a basic understanding of Microsoft PowerPoint or other presentation techniques (e.g. Infographics). To complete the final two stages, this case would work best within a group. Teaching methods and equipment

The case utilises a case study scenario aimed at building student skills. The assessment of the case includes responding to a tender, preparing a proposal, giving a pitch presentations and doing a tender evaluation. The case study is based on DogFest, which is a dog owner-​focused festival that has previously been held in three locations in Southeast Queensland on four separate occasions at the time of writing. DogFest is promoted as a celebration of dogs. Within a wider programme aimed at having fun, DogFest delivers opportunities for dog owners, dog trainers and the wider community to learn about wildlife aversion dog training. Students are provided with data collected across three DogFests. It is expected that students will have the opportunity to present a research proposal for another DogFest to be held in Southeast Queensland. Students may submit written proposals and/​or pitch presentations prior to judging which team should be awarded the evaluation for the upcoming DogFest. Therefore, it is recommended that the class be equipped with computers, projectors, and or flip charts. Teaching instructions

The case aims to introduce wildlife aversion, a behaviour that dogs can perform to protect and avoid wildlife. This case study considers how a dog festival (DogFest) which has previously been held in three locations (Redlands, Logan, and Ipswich), has on four occasions been used to attract more than 7,000 dog owners in Southeast Queensland, Australia. These festivals arose from co-​design when dog owners were first approached to identify solutions that could be deployed to prevent dogs from attacking koalas (Rundle-​Thiele et al., 2019). More than 60 dog owners wanted a solution that showed them what to do, was dog focused and fun. To attract dog owners, a fun festival-​style event was conceived. DogFest was designed

218  Aaron Tkaczynski, Sharyn Rundle-Thiele and Megan Foster

to celebrate all things dogs while simultaneously delivering a serious side. The first delivery of DogFest demonstrated that dog owners could be attracted to a fun, festival-​style event. Some dog owners attending the event signed up for training programmes that embedded wildlife aversion as one behaviour within a wider 4-​ week dog training programme. The pilot study demonstrated that dogs’ wildlife aversion abilities could be improved when dog owners attended a 4-​week dog training programme delivered by trainers who could teach wildlife aversion (David et al., 2019). Wildlife attacks from dogs and other domestic animals (e.g. cats) and farmed animals (e.g. cows) have been a major problem in countries such as Australia, the United States, and the United Kingdom. The approach applied in this project demonstrates how pet owners can be engaged through a fun festival-​style community event to enrol in training programmes benefiting themselves and wildlife. Four consecutive steps are offered for consideration. This could be an individual task or group exercise that could be used as a teaching case or an assessment. This case may be used in both undergraduate and postgraduate classes. The steps outlined in this case can be applied to other festival contexts. Step 1

Students individually read the case study material. The case describes the need to embed wildlife avoidance abilities community-​wide to prevent dogs, and other domestic pets, from attacking wildlife such as koalas. This step also provides an overview of online and in-​person survey findings summarising data collected from three DogFest festivals. This task can be set prior to, or within, scheduled class time. Step 2

This step assumes students have read the case study. Students are then placed into groups of three to five students, depending on class size. Here, students discuss the strengths and limitations of the research that was previously used by DogFest organisers to evaluate the effectiveness of the event and marketing efforts deployed to attract visitors to DogFest. Step 2 will take approximately 30 minutes. In an open discussion session moderated by the facilitator, students can discuss their views. Discussions should consider a full range of data collection and analytical methods that can be considered for the upcoming DogFest to be held in the Southeast Queensland region. Students are also encouraged to provide a critical analysis of the research approach described in the case. Here, it is recommended that a whiteboard can be used where students can outline the benefits and drawbacks of the method previously applied.

Engaging dog owners through wildlife aversion training  219

Step 3

Step 3 assumes that students have completed Steps 1–​2. Here, the critical analyses performed in Step 2 will inform the evaluation approach that student teams recommend. Further background reading on monitoring and evaluation, and an understanding of data analysis approaches will greatly benefit students. It could be argued that a survey is not required for the upcoming festivals as two segments are defined, and cost savings could be achieved by applying observational approaches. Information is currently available on the characteristics of dog festival attendees who own a dog/​s through data drawn from past events. Alternatively, students may suggest that the same procedure could be applied to identify whether the characteristics of DogFest attendees have changed. This would permit the evaluation team to examine the effectiveness of the promotional efforts applied by the DogFest team. Student proposals should clearly outline whether data is to be collected on-​site and/​or online. It is expected that students should explain the variables they will include in their choice of data collection methods. It is also recommended that not more than 15 items are chosen for a survey and that if surveys are chosen, it is important for students to justify the relevance of each item selected. The example provided has more than 15 survey items, which increases costs of data collection and analysis. Other items not considered in the previous DogFests may be added if the students can clearly justify why the inclusion of new items will better assist the event team to measure event success or failure, enhancing value for money. The task

In Step 3, the fulfilment of the following task is expected from students: The next group to host DogFest requires the services of a team to perform an event evaluation. Describe your event evaluation approach. Judging criteria may consist of team track record, value for money, and quality of the research proposal. The instructors may wish to use this component as a group or individual assessment piece. Students being assessed either in groups or individually would submit proposals to the council for consideration. This task provides students with experience in applying for tenders. Similarly, for assessment, instructors may wish to provide students with the task of shortlisting evaluation proposals using the judging criteria provided. This task develops student skills in tender writing and tender evaluations. Step 4

Step 4 assumes that students have completed Steps 1–​3 and invites student groups to pitch to the council. In Step 4, each student group (all can present, or there can be a spokesperson) presents their event evaluation plan to the room. For assessment

220  Aaron Tkaczynski, Sharyn Rundle-Thiele and Megan Foster

purposes, instructors may wish to provide students with the task of shortlisting evaluation proposals following the pitch presentations using the judging criteria provided. This task develops student skills in pitch presentations and tender evaluations. Students are to design a short presentation to present in the classroom. Student groups are to assume that they are presenting to the event organisers and to the next local council partner. It is expected that the presentation would be no more than 3–​5 slides for each group. Case Background to DogFest

Dogs provide many benefits to humans. Dogs can provide physical (e.g. exercise), health (e.g. reduced stress), and social (e.g. companionship) benefits to their owners (Friedmann & Thomas, 1995, p. 1217). Despite the advantages that dogs provide to their owners, some dogs require training to manage poor behaviour such as chasing or barking at wildlife or other dogs. There are a variety of resources available such as dog obedience training schools, books, television shows and webinars from experts that are designed to enable current or potential dog owners to learn about and gain the skills to manage their dog’s behaviour. More recently, dog festivals have also been used to enable dog owners to learn ways to overcome potential dog behavioural problems. Dog festivals might include dog training shows, demonstrations, talks, or stands where dog trainers promote their services. Some training options that dog owners might learn about include (but are not limited to): teaching a dog to sit; training a dog to walk on a short lead; and teaching a dog to heel and/​or stay, stop barking, stop digging, and return to their owner when called. Further, specialised wildlife training aversion techniques are available. Wildlife aversion is taught through scent-​based training. For koala aversion, ‘scats’ –​ a koala’s poo –​ are used to train dogs and their owners on wildlife aversion. For koala aversion, dogs are familiarised with the scent of a scat, and positive training approaches are used by dog owners to teach dogs the behaviour we want them to do. Training dogs to remain calm when they detect another animal’s presence is an example taught behaviour. An increasing number of dog owners who are willing to train their dogs not to avoid wildlife is a key objective of DogFest events. DogFest aims to attract dog owners who would not normally think about how their dog/​dogs will react to wildlife when they are out for a walk or when wildlife (e.g. a koala) enters a dog’s/​dogs’ property. By embedding wildlife aversion into a full programme that is designed to be DogFest, organisers expect dog owners who previously had not considered wildlife aversion to become more aware of the ability and in time to take up this dog training option.

Engaging dog owners through wildlife aversion training  221

To date, four festivals have been held in three different locations in Southeast Queensland, namely Redlands, Logan, and Ipswich. Another DogFest is planning to be delivered in Southeast Queensland. Festival evaluations

Festival evaluations are important for many affiliated organisations. The host organisation may wish to evaluate current and future event outcomes. Sponsors will want to identify the sales potential and advertising coverage when supporting a festival. A local council may wish to evaluate social, economic, and job creation impacts to gain funding for future events. Tourism bodies may wish to understand visitor impact and spending. Therefore, knowing what stakeholders want, to identify the information that needs to be collected, is key to designing evaluations that can inform. Cross-​sectional versus longitudinal

Different methods can be applied to collect information. These methods can be collected before, during, or after festivals. A cross-​sectional research design can be chosen where data is collected with a group of attendees at one time, or a longitudinal approach may be applied where information can be collected from the same attendee at different times. Despite longitudinal research providing benefits to the organiser and stakeholders, such as identifying whether motivations to attend a festival were fulfilled, this method is expensive and attrition rates can be high (e.g. it is difficult to get attendees to participate in two or more phases of research for a host of reasons including time, financial constraints, and/​or the attendees’ lack of interest). Time

Choosing whether to collect information from attendees before, during, or after a festival is an important consideration. On-​site data collection has the advantage that a data collector can observe people, and if data collectors are stationed in strategic locations such as near entry or exit gates, dinner tables, or waiting areas, many responses can potentially be collected in a short period of time. However, if it is raining, windy, or snowing, or the weather is too hot or too cold, people may not respond. Attendees may also forget their reading glasses, and if the event is held at night where lighting is poor, these people may not be able to participate in research due to poor visibility. Collecting data after an event is helpful as it provides advantages such as not interfering with an attendees’ enjoyment during the festival. Post-​event evaluation also allows event organisers the benefit of not paying for data collectors to collect information on-​site. However, collecting surveys or conducting interviews after an event can lower response rates due to

222  Aaron Tkaczynski, Sharyn Rundle-Thiele and Megan Foster

lack of interest from attendees, and respondents forgetting to respond despite their initial best intentions. Previous research shows that attendees are most likely to respond when approached in-​person on-​site during a festival. Emic versus etic

Researchers can apply an emic view that focuses on quality or depth of information, which is largely based on perceptions and where participants may be potential, current, or future attendees. Common methods include focus groups and interviews. Focus groups generate ideas through group brainstorming and help festival organisers ‘get in touch’ with target markets by understanding consumer vocabulary or trends. This method can reveal consumer needs, motives, perceptions, and attitudes towards products or services. However, some participants can dominate the conversation whilst others stay quiet, and some participants may feel swayed to make a popular decision. Interviews are conducted one-​to-​one and can help festival organisers gain insight from potentially very knowledgeable people, and respondents can provide honest responses. However, this approach can be time consuming and expensive. Respondents may also be non-​talkative or not knowledgeable on the topic. The emic view does provide depth of information but is usually limited to a few focused questions and to approximately 30 attendees at most. The emic view also requires interviewees with knowledge of the festival and the potential festival’s purpose to be targeted. Alternatively, an etic view can be applied that focuses on the quantity or breadth of information. Here, data are collected most notably through surveys. Surveys can be self-​administered where completed by the attendee. Alternatively, interviewer-​ administered surveys can be used where a data collector reads out the questions and completes the survey based on the attendee’s answers. Either a pen and paper or an online (e.g. iPad, QR code) method can be chosen for survey collection. The greatest benefit of this method is that it provides a large response rate (over 200 people) that can be used by festival organisers to justify the purpose and the success of the event to stakeholders. Largely self-​administered surveys allow event attendees to remain anonymous. Furthermore, self-​administered surveys are completed faster by respondents, and this method has the advantage of several surveys being completed at the same time by different respondents. In other words, a data collector can move around a venue and target people in proximity to each other, such as those sitting at tables waiting for a performance or having dinner. These surveys may be at different stages of completion, and the data collector can hand out new surveys to new attendees who have just arrived when one survey has been completed by an attendee who is just leaving the location. Although technology (e.g. iPads and QR codes) can limit paper usage, sometimes issues such as no Wi-​Fi or the system being slow or crashing can result in surveys not being included. If a paper-​based option is considered, it is better that a board for writing is provided to attendees. The data

Engaging dog owners through wildlife aversion training  223

collectors should also have many pens and an estimated number of surveys printed out prior to the start of the event. Information collected

Information that can be collected from attendees can include demographics (e.g. age, education), geographical (e.g. country of origin), psychographic (e.g. motivations, interests), and behavioural (e.g. expenditure, event information sources used). These items can be designed as binary (yes or no), categorical (between two to ten categories), Likert (e.g. ranking scale: 1 =​Very Low to 7 =​Very High), metric (providing a number), and open-​ended (e.g. words or sentences). It should be noted that only a limited amount of information can be collected from attendees regardless of method. It is recommended that no more than 20 items be included in surveys to be distributed during events. Attendees may have limited time or attention spans and therefore short, focused surveys are preferred. It is recommended that a mixture of demographics, geographics, psychographics, and behavioural items should be used to provide an accurate profile of the attendees. Data analysis methods

Data analysis methods can vary based on whether an emic or an etic view is applied. Emic data can be analysed using qualitative packages such as Leximancer or NVivo. These packages will require an understanding of words and sentences that are applied to find common themes or ideas provided by attendees. Etic data can be analysed using methods such as descriptive statistics, bivariate data analysis (e.g. t-​tests, chi-​square tests), and multivariate data analytic techniques (e.g. factor analysis, cluster analysis, regression analysis). These methods are applied by festival researchers to profile attendees, identify specific groups on key criteria (e.g. demographics and psychographics), and more. Regardless of the advantages and disadvantages of the method and analysis chosen by the festival organisers, answering the overall aim or purpose of the research should be the focus. DogFest

DogFest is an outdoor not-​for-​profit dog festival. Events are usually held between 8 a.m. and 1 p.m. Past DogFests have been held in three different local government regions (Sunday, November 14, 2021 (Redland); Sunday, March 27, 2022 (Logan); and Saturday May 7, 2022 (Ipswich)) within Southeast Queensland, Australia, following the format trialled in 2017 in the Redlands local government area. DogFest is positioned as an innovative and informative dog event where attendees learn about and celebrate dogs. Each festival includes demonstrations by dog experts (e.g. wildlife aversion training, dog training, detection dogs, and more), competitions (e.g. best dressed and best trick), entertainment (e.g. live

224  Aaron Tkaczynski, Sharyn Rundle-Thiele and Megan Foster

music and face-​painting), and over 40 market stalls (e.g. food, dog products, dog trainers, local wildlife authority information). DogFest is promoted through social media (Facebook, Instagram), websites (local council website, dog organisations, Eventbrite®), newsletters (e.g. monthly newsletters distributed to more than 7,000 dog owners), and posters displayed on dog parks banner boards or within windows in shopping centres in the local government area. Although this event is delivered free of charge, attendees are asked to register for this event through the online booking system Eventbrite®. People who do not own a dog can also attend DogFest without preregistration. In total, 2,590 (Redland), 1,400 (Logan), and 1,900 (Ipswich) attendees frequented DogFest. Method and analysis

A paper-​based self-​administered survey was conducted on-​site during the events. Additionally, respondents who had registered for a DogFest through Eventbrite® were sent an email a couple of days after their chosen event inviting them to complete the same survey offered via LimeSurvey. Fourteen motivational items (psychographic) were included in the survey. The survey asked respondents to provide demographic items to capture dog ownership, age, education, and household size. Geographical (origin) was applied. Information sources, satisfaction, and willingness to recommend DogFest were final questions included in the surveys. The survey featured two open-​ended questions. Open-​ended questions invited respondents to state what they liked best about the festival and to provide any recommendations for future DogFest events. Five hundred thirteen attendees completed the survey across three DogFest events. Most respondents attended Redland (40.0%), Logan (32.9%), then Ipswich (27.1%). The majority completed the survey on-​site (76.2%). It was concluded that no attendee travelled farther than 150 kilometres to attend DogFest and the method of completion (on-​site vs. online) was similar across festivals. In other words, three-​quarters of responses for each festival were completed on-​site. Two-​step cluster analysis was performed on the motivations to understand whether groups could be identified (see Table 27.1). This procedure produced two motivational segments. This method seeks to focus on identifying variables that are the most important for differentiating one segment from the other. Table 27.1 shows the first segment (dog-​focused attendees) is differentiated based on its desire to learn more about dog events (93.8%), learn more about dogs (88.3%), and learn how to train their dog (79.3%). The second segment (53%) is defined as lukewarm attendees. This segment is not as motivated as the dog-​focused attendees for the range of activities, for example, entering a dog competition (11.0%) or having their dog photographed (12.9%). This segment did not attend DogFest to enter competitions or to be educated. Dog-​ focused attendees are younger than lukewarm attendees. However, most respondents in both segments

Engaging dog owners through wildlife aversion training  225 TABLE 27.1 Motivation segments

Learn more about dog events Learn more about how to train my dog/​s Make new friends Learn more about dogs Participate in activities Eat good food Enjoy dog shows Drink good coffee Have my dog photographed Enter a dog competition Give my dog exercise Spend time with others Have fun Do something different Age 18–​24 25–​34 35–​44 45–​54 55–​64 65+​ Dog ownership 0 1 2 More than 2 Education Primary Secondary Certificate Bachelor Diploma Postgraduate Household size 1 2 3 4 More than 4 Origin (resident) Yes Information sources Facebook

Dog-​focused attendees (47%)

Lukewarm attendees (53%)

93.8% 79.3% 79.7% 88.4% 73.0% 81.3% 94.6% 66.4% 46.6% 41.9% 88.0% 97.1% 100.0% 93.8%

41.4% 25.0% 26.5% 36.8% 22.8% 36.4% 54.8% 23.9% 12.9% 11.0% 58.5% 79.8% 87.5% 81.2%

18.6% 24.7% 22.9% 16.9% 8.7% 7.8%

7.3% 28.2% 26.4% 24.4% 9.9% 2.7%

12.4% 47.2% 30.9% 9.4%

14.0% 49.2% 26.1% 10.6%

1.3% 20.2% 22.4% 21.1% 14.5% 13.6%

1.6% 17.8% 17.8% 24.4% 16.3% 15.9%

10.3% 36.9% 23.6% 17.6% 8.2%

11.3% 46.2% 16.0% 15.8% 9.0%

53.0%

55.7%

62.7%

71.3% (Continued)

226  Aaron Tkaczynski, Sharyn Rundle-Thiele and Megan Foster TABLE 27.1  (Continued)

Friends/​family Instagram Poster/​flyer Eventbrite Council website Post-​festival evaluations Satisfaction Word-​of-​mouth communication

Dog-​focused attendees (47%)

Lukewarm attendees (53%)

22.8% 11.2% 11.2% 4.6% 3.3%

17.8% 7.7% 7.0% 6.3% 5.9%

6.2 6.5

6.0 6.2

owned one dog, and were educated between the secondary and bachelor’s degree level. Both segments comprised respondents with a household size of two and an almost equal share of residents and tourists. Slightly more lukewarm attendees employed Facebook as an information source to learn about DogFest. However, other information sources used by the two segments were similar. Dog-​focused attendees are more satisfied, and they are more likely to tell their friends and family about DogFest. Most dog-​focused attendees (89.2%) and lukewarm attendees (92.3%) provided feedback on what they liked best about DogFest. Common themes noted by dog-​ focused attendees related to dogs (n =​ 101), the stalls and displays (n =​ 64), and the variety (n =​ 23). Select positive responses included ‘all the different stalls and merchandise available’, ‘seeing all the different dogs’, ‘being out with my dog and being with like-​minded people’, ‘friendly atmosphere, being surrounded by dog owners, best trick show’, and ‘it’s a good opportunity to learn dog things’. Lukewarm attendees similarly suggested that dogs (n =​124), stalls and displays (n =​ 78), variety (n =​ 35), and the opportunity to socialise (n =​ 23) were the best part of DogFest. This segment provided similarly favourable comments such as ‘all dogs coming together and seeing the variety’, ‘dog friendly event with entertainment and activities’, ‘the large amount of stalls and open space, plenty to see’, ‘the relaxed atmosphere, seeing so many precious dogs and seeing how much my own dogs enjoyed it’. DogFest 2023

DogFest organisers have been approached by a new local government area which is seeking to hold a dog festival that focuses on educating dog owners on wildlife aversion training. The organisers are particularly interested in targeting the first segment; dog-​focused attendees. This event will employ a similar programme to programmes delivered in the previous four DogFests held in Southeast Queensland.

Engaging dog owners through wildlife aversion training  227

It is hoped that 100 dog owners will sign up for in-​person wildlife aversion training or download the ‘Leave It’ application. The Leave It app provides training modules that dog owners can use in their own time. One module provides dog owners with wildlife aversion training techniques, while other modules take dog owners through the steps needed to walk nicely on a lead, come when called, and to keep dogs safe. The app, which is available in iTunes and Google Play, includes a clicker that dog owners can use to train their dog. It is expected that approximately 1,500 attendees will frequent this event. You are tasked with designing the research plan for this event. Questions for the research plan

1 What do you perceive as the three (3) greatest advantages and the three (3) greatest disadvantages of the DogFest research plan that was applied by the DogFest organisers for the three events described in this case study? Justify your argument to the class. 2 In designing the evaluation of the effectiveness of the 2023 event, when would you collect data (before, during, or after the event)? Would you apply an emic or an etic approach? Please state two (2) reasons for your choice (remember, your stakeholders want to know why your approach is best). 3 You need to target dog-​focused attendees. Which 15 items would you use to collect information from attendees at the next DogFest event to understand whether marketing efforts attracted this market? Do you perceive any items are more important than others? If so, justify why. 4 Which data analysis method would you use to analyse your data? References /​Further Reading David, P., Rundle-​Thiele, S. R., Pang, B., Knox, K., Parkinson, J. & Hussenoeder, F. (2019). Engaging the dog owner community in the design of an effective koala aversion program. Social Marketing Quarterly, 25(1), 55–​68. https://​doi.org/​10.1177/​15245​0041​8821​583 Leave It. (2023). Leave It. www.leav​eit.com.au/​. Access Date: 24 June 2023. Rundle-​Thiele, S., Pang, B., Knox, K., David, P., Parkinson, J. & Hussenoeder, F. (2019). Generating new directions for reducing dog and koala interactions: a social marketing formative research study. Australasian Journal of Environmental Management, 26(2), 173–​187. https://​doi.org/​10.1080/​14486​563.2019.1599​740

INDEX

Ali Bey Club 144, 145 Ali Bey Resort 144 artificial intelligence 83, 86, 126, 128–​32 Art-​kino 12 augmented reality 83 Australia 4, 41, 217, 218, 223 Body & Soul Festival, Ireland 16–​19, 21 Brick House 12 the Brisbane Economic Development Agency 152 Children’s Brain Cancer Conference 2023 153 Chinese New Year 62 communication channels 18, 55 community capacity development 2, 4 community support 44, 45, 48 competitive advantage 82, 139, 141 continuous improvement 30 cooperative learning 2 cost-​benefit analysis 191–​6, 199 covid-​19 29, 42, 50, 85, 87, 89, 137, 197, 198 creative event concepts 1 critical success factors 2 Croatia 10 cultural art events 191, 192, 195, 196 cultural events 191, 197 cultural heritage 33 destination management 182 destination marketing 182

destination planning 10 diaspora communities 60, 61, 63 diaspora festivals 59–​62 digital competitors 89 DogFest 217–​21, 223, 224, 226, 227 economic development 1–​3, 47 emergency response plan 93 emic data 223 Enchanted Forest Music Festival 94, 95 entrepreneurial: behavior 89; change 79–​82; culture 83, 84; ecosystems 86; opportunities 85; practices 79–​81; strategy 83; strategy 84 entrepreneurship 79, 80, 82–​7 environmental stewardship 85 environmental sustainability 16–​19 ethical behavior 167, 170 ethical decision making 168–​70, 173 ethical decisions 172 ethical standards 172 etic data 223 European Capital of Culture 9–​13, 15 event: bidding 139; concept 1, 67; development 7, 10; hosting 44; management 16, 20, 26, 64, 65, 67, 80, 90, 99, 167, 182, 210; marketing 167; planning 44, 45, 47, 64, 65, 67, 74, 75; planning 8, 54; spaces 7; sponsorship 167; sustainability 16, 17

Index  229

the Fédération Internationale de Football Association (FIFA) 81, 83 the Fédération Internationale de l’Automobile 81 festival: attendance 108; experiences 107, 109; management 20, 182; organisations 174, 176; sites 154, 156, 157; stakeholders 174 Festivalscape 61 the Finnish Festival Barometer 2022 120 the Finnish Leisure Survey 2017 176 Finland 176–​8 General Directorate of Arts 189 Gen X 105 Gen Y 105 Gen Z 98, 99, 102, 104, 105 Google Earth 9, 11–​13, 15 Green Deal for Circular Festivals 20 Hotel and Restaurant Association 161 human resources management 200, 201, 203–​7 hybrid events 133 hybrid festivals 133, 135 the Ilosaarirock Jazz festivals 176–​80 the Indie Music Competition 197, 198 Indonesia 197 information and communication technologies 209, 210, 212, 214 innovation 79–​87 innovative practices 89 Innovatus University 70 the International Olympic Committee 81 International Standard on Sustainable Event Management 19 the International Tennis Federation 140, 142, 144, 145 Ireland 16, 19 Irish music 19 jazz festival 137 Joensuu Pop Musicians’ Association 176 Klein Karoo National Arts Festival 22–​34 LGBTQ+​36, 37, 39–​43, 118 LGBTQ+​Mardi Gras events 36, 37, 39, 41, 42 live music 209–​12; events 116, 117, 209, 210 the Local Gastronomy Club 157, 158, 161

the Lusofonia Festival 62 Luville Music Fest 45–​7, 50, 52 Mandela, Nelson 33 marketing communication 102 Museum of Modern and Contemporary Art 12 music: events 116; festival 133, 213, 214, 217 the National Department of Culture and Arts 159 the New Economics Foundation 203 non-​vegan destination 53 Notting Hill Carnival, London 62 Olympic Games 67 organisational culture 84 outdoor music festivals 16–​18 place: activation 2, 3, 64, 69, 72; branding 2; identity 2; image 10 placemaking 2–​4, 7, 9, 10, 12; plan 2; practices 7; principles 7, 10, 12, 13, 15 the Pori Jazz festival 176–​80 Portugal 181, 187 price: competitiveness 147; strategies 157 Puppet Theatre 13 recreation management 90 Rijeka City Library 12 Rijeka City Museum 13 scenario planning 127–​32 Seacity International Fair 98, 99, 102, 104, 105 site planning 154, 156 social capital building 2 social media 18, 55, 144 social responsibility 85 solo attendees 107, 109 South Africa 31, 33, 34 South Australia 4, 7 sponsorship: agreement 167; proposal 167, 173 stakeholder: analysis 25, 26; management 53 The Stirling Business Association 5 Stirling Laneways 2–​7 Stirling Market 4, 5 strategic: event concepts 1, 2; goals 1 Sugar Refinery 13 sustainable placemaking outcomes 2

230 Index

The Sydney Gay and Lesbian Mardi Gras 41, 42 SWOT Analysis 27 Technological University Dublin 20 the Terras sem Sombra Festival 181, 184, 185, 187, 189 Tourism management 90 the Town and Village Music Festival 127, 128, 131, 132 the Turkish Tennis Federation 145 Türkiye 155 the UNESCO World Intangible Cultural Heritage list 188 unethical behavior 170 unique selling points 83 United Kingdom 218 United States 218 University of Queensland 152 urban planning 8, 10 urban tourism 11

the Urla Artichoke Festival 155, 157, 166 UN Sustainable Development Goals 16, 18, 19, 61, 62, 66, 68, 70 vegan association 55, 56 vegan community 54 vegan festival 53, 56–​8 vegan ideology 53 Victoria Park 151, 152 virtual reality 9, 11, 83 vocational training 1, 80 volunteer management 175, 178 the Wagga Wagga Mardi Gras 42, 43 wildlife aversion training 216, 217, 220, 227 the Wine Producers Union 158, 161 World tennis championship 139–​41, 144, 145 Youth Council Benčić 13