Intro to Event Management Assignment, Singapore

University Republic Polytechnic (RP)
Subject Intro to Event Management Assignment

Intro to Event Management Assignment

Introduction

This chapter provides an overview of strategic planning as it applies to the ficld of event management. It begins by discussing the importance of strategic planning and then moves on to describe its application in the contexts of event management companies, host locations (cities, towns, regions) and individual events, with an emphasis on the latter. While the steps involved in the process of strategic planning vary within these different contexts, its intent, to identify a desired future and to work towards it, remains the same.

 

5.1 What is strategic planning?

LEARNING OBJECTIVE 5.1 Discuss the function of the strategic planning process in the context of event management companies, host locations and individual events. In its simplest form, strategic planning can be defined as a systematic process by which a desired future is envisioned and then progressed through a sequence of steps. Actions directed at achieving this future are in turn guided by the development of clear vision, mission and value statements, along with associated goals and objectives. In other words, the strategic planning process is concerned with end results and the means to achieve those results.

The value of strategic planning is reflected in the following conversation between the Cat and Alice in Lewis Carroll’s famous children’s story Alice’s Adventures in Wonderland:

“Cheshire Puss, … Would you tell me, please, which way I ought to go from here?’
“That depends a good deal on where you want to get to,’ said the Cat.
‘I don’t much care where —.’ said Alice.
‘Then it doesn’t matter which way you go.’ said the Cat.
*— so long as I get SOMEWHERE,’ Alice added as an explanation.
‘Oh, you’re sure to do that,” said the Cat, “if you only walk long enough.’ (Carroll 1977, p. 87)

This quotation, in a somewhat humorous way, emphasises the point that if an organisation — for example, a community committee responsible for the planning and conduct of an event, an event production company or a local council that delivers multiple community events — does not have a clear direction that it is seeking to pursue, its subsequent actions will lack purpose. Without a stated purpose, organisations will struggle to set priorities, allocate resources and gain commitment from their employees and other stakeholders as there exists no common understanding of what is intended to be achieved.

While the power of strategic planning in facilitating progress towards a desired outcome(s) has been acknowledged by numerous writers (see Bryson 2011; Pearce and Robinson 2014; Grant 2015; Rothaemel 2017; Lynch 2018), actually engaging in it involves a measure of discipline on the behalf of the organisation concerned. As Sir John Harvey-Jones, a past chairman of Imperial Chemical Industries in the UK, notes,

“Planning is an unnatural process: it is much more fun to do nothing. The nicest thing about not planning is that failure comes as a complete surprise, rather than being preceded by a period of worry and depression’

(Economist 2012).

While key to the success of event organisations, it must be kept in mind that the process of strategic planning is one that, at its base, should serve as a means of organising discussion, processing information and developing a consensus around what direction(s) an organisation should take (Grant 2015). If viewed this way, the potential ‘pitfalls’ associated with its use can more easily be avoided, including:

* overplanning and becoming obsessed with detail as opposed to overall strategic considerations 

* viewing plans as one-off exercises rather than active documents to be regularly consulted and adapted in the light of such considerations as experience, new technological developments and changed market conditions

* secing plans as conclusive rather than directional in nature (Grant 2015; Johnson and Scholes 2018).

The strategic planning process and event organisations

Nuances exist in the application of the strategic planning process in different event-related settings. A ntraditional organisational strategic planning framework (figure 5.1), for example, would likely apply in the context of an event production company, while cities, towns or regions secking to strategically develop their portfolio of events for tourism purposes would approach the task of strategy development in a similar,

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®© John Wiley & Sons Australia, Ltd. Not for resale or distribution. Any unauthorised distribution or use will result in legal action. but slightly different way (sce the chapter on event tourism planning). Organisations wishing to attract geographically mobile events through the bidding process (for example, professional associations, sporting bodies), or create new events (for example, entrepreneurs, community groups), would also differ to some extent in their approach (sce figure 5.2). Irrespective of these differences, the essence of strategic planning remains the same in that it serves to structure discussion by moving managers through sequential and interrelated steps that require the analysis of information and the development of a consensus around what actions should be taken.

Event production company strategic planning frarnework ict eae Stages in the strategic planning process for new and geographically mobile events.

Source: Based on Grant 2009.

92 Festival & special event management essentials

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5.2 Strategic planning process for new and geographically mobile events

LEARNING OBJECTIVE &.2 Describe the stages in the strategic planning process for mobile, new and existing events and develop a basic strategic plan for an event organisation.

To demonstrate how the strategic planning process works in practice, the example of new and geographi-cally mobile events has been used in the following section. It should be noted, however, that in the case of the former it is assumed that the intention is for there to be future iterations of the event.

Preliminary stages

Event concept or intent to bid In the context of proposed new events, this stage in the strategic planning process involves developing an initial event concept and refining it, often in consultation with relevant stakeholder groups. Depending on the event, these might include tourism bodies, local Chambers of Commerce, police, local communities, telecasters, potential suppliers, and government agencies and departments. Emerging from this process will be a much more ‘concrete’ event concept with matters such as duration, timing, program elements and likely target market(s) having been further clarified. This in turn will allow the proposed event to be subjected to a more detailed analysis in the form of a feasibility study. In instances where bidding is involved, an event must first be identified for which a bid can be made.

Commonly, the event owner (for example, a corporation, sporting body. association or professional body) asks for bids by a specific date for the conduct of their event at a specified future time. In the context of business-related events, such as conferences, convention and visitors’ bureaux play a major role in identifying events that can be attracted to their city/town through the bidding process. Once an event is identified, these bodies act to encourage and facilitate bids by those organisations that are potentially in a position to host it. These organisations, depending on the event, might be the local chapter of the international association, society or professional body that owns the event.

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Single or multisport governing bodies (for example, national Olympic committees) and state-based major event agencies also engage in the bidding process from time to time, seeking to attract intemational, national or state athletic competitions. or other large scale events (for example, Formula One, world expositions). Once an event is identified, it is common for a preliminary assessment to be made as to its ‘fit’ with the capabilities of the potential event organising body and/or proposed host destination. This assessment is often made casicr by criteria supplied by the event owner (sce the example in figure 5.3). Events deemed worthy of further investigation after this initial assessment are often, but not always, further assessed by being the subject of a feasibility study. sie me Local Government NSW Annual Conference 2019 critena for expressions of interest

Local Government NSW Annual Conference 2019 criteria for EOls to beHost destination in a Sydney metropolitan area

Councils wishing to host the LGNSW Annual Conference are invited to submit an expression of interest

(EON. EOls must be received by 4 May 2018 and address the following criteria:

 

a) Threshold criteria

* Hotel rooms for up to 900 (delegates, sponsors, guests, staff) for three nights maximum

* An auditorium that seats 900 people

© A trade exhibition space for at least 45-50 booths of 2 metre x 3 metre space and catering space

 

b) Detailed criteria

1)  Write a statement about why your council area should host the conference and what your destination will add to the conference experience of attendees.

2)  Accommodation

Provide details of at least three accommodation provider(s) and the prices applicable for the duration of the Conference.

Accommodation: minimum 3.5-star standard, private facilities in each room.

~ No more than 30 minutes’ drive from the main conference venue.

Some rooms will be required for speakers etc. as part of the overall 900 room requirement,

CHAPTER 5 Strategic Event Planning 93

® John Wiley & Sons Australia, Ltd. Not for resale or distribution. Any unauthorised distribution or use will result in legal action the conference venue (max. 5 minutes” walk}. LGNSW will work with the accommodation supplier to confirm and pay for the rooms allotted and used and will release rooms back by agreed dates where relevant.

– No price gouging — LGNSW hosts conferences in non-C8D areas in recognition of the economic and reputational benefits a significant conference brings. A region’s accommodation providers may see the conference as an opportunity to increase their normal room charges. While some changes are acceptable to cover additional costs due to an influx of delegates, price gouging (increases greater than 10% over normal published rack rates) is unacceptable. Councils bidding to host a conference are advised to lock in accommodation pricing at the time of submitting their bid.

– Caravan parks will not be considered.

  1. Auditonum

The auditorium must:

– hold up to 900 people seated theatre-style

– allow on-site catering for morning tea, lunch, afternoon tea, delegate networking etc.

– povide disabled access and amenities (access, egress and toilets, hearing loop)

– have adjustable air conditioning

– have adjustable lighting

~ have adequate parking and easy access to amenities

– have, in addition to the main auditorium, 2-3 smaller rooms for meetings/breakout sessions for up to

200 pax each and a conference office with 3 desks, 6 x chairs, access to a high-speed photocopier and printer

– have mobile telephone reception

– deliver free WiFi access for delegates and attendees (LGNSW will appoint the audiovisual and staging company)

Conference support facilities

Facilities must also include:

– amedium space suitable for use as a media room (with internet and telephone)

– a large space adjoining the conference venue for a trade display area (capacity of at least 45-50

trade exhibition booths of approximately 2 x 3 metres with space for catering for approximately 900 delegates and guests)

– easy access to load in and load out for suppliers

– other smaller meeting spaces close to the main venue

– on-site parking or parking close by

– good public transport access

Social events

A bidding council must identify:

– a suitable venue to host the main conference dinner, for up to 900 persons, a maximum of 30 minutes’ drive from the main conference venue

– a suitable venue for a Welcome Reception that may or may not be at the main venue. Both social events should showcase what is unique about the destination

– buses, if required, to transfer delegates from the conference venue to social events

Childcare facilities

Councils must be able to provide childcare facilities during all conference sessions and functions or arrange childcare. Demand is usually low (e.g. no more than 5 children).

Motor vehicles and drivers

Bidding councils must be able to supply a vehicle and driver if needed — e.g. to pick up/transfer speakers and special guests.

Ecologically sustainable development principles and the Conference

All bidding councils must work with the LGNSW Events team to ensure the conference reflects the LGNSW Principles and Guidelines for Event Sustainability.

important information

The process

Following the closing date for EOls, responses will be assessed against the threshold criteria and then the secondary criteria. This review may require a site visit. A final decision is expected in June 2018.

The role of LGNSW and the host destination

The ownership of the conference remains with LGNSW, and LGNSW maintains overall control of running the conference. In Sydney, LGNSW will deal directly with venues and suppliers as required. LGNSW will assume the financial risk of attending delegates including underwriting the income from delegate fees, meeting sponsorship targets. LGNSW will run the budget, registration and reconciliation processes. The host council will provide support and advice in planning and arranging the social program.

LGNSW expects all aspects of the conference to be executed to the highest possible standards, and that professional events staff working within the host counc# will assist LGNSW. Association staff will work 94 Festival & special event management essentials ® John Wiley & Sons Australia, Ltd. Not for resale or distribution. Any unauthorised distribution or use will result in legal action with the host council at each stage as part of effective conference planning and management. Further etails of the role of the host council (and LGNSW) are as follows:

Council’s responsibility Association’s responsibility

a)  Advising on the social and partners’ program in All venue logistics including catering, security,

b)  Conjunction with the association and assist in staffing. in-house audiovisual and social events.

planning the local event aspects of these activities

Suggesting business session and social program Quality control of all facets of the conference and Securing accommodation and arranging bookings = Arranging the content of the conference

including business sessions, timeframes, speaker

management and business papers

Determine community involvement and volunteer All financial aspects of the conference and assistance as required: leaving a legacy arranging trade displays and sponsorships Compiance with LGNSW’s sustainability policy The running orders and programming of the

conference

Security arrangements at the request of the Preparing and distributing business papers association (e.g. security guards) To provide the skilled resources necessary to All design and printing requirements and brand adhere to LGNSW’’s timelines for delivery management of the conference.

Provide local flavour and innovation where possible On-site registration on the day, delegate fulfilment.
To communicate and meet regularly with LGNSW To communicate and meet regularly with the and have a dedicated event team council and have a dedicated events team Source: Local Government NSW 2018.

Feasibility analysis

To assess the potential an individual event has for success, it is sound practice to objectively (perhaps via the use of an external organisation or consultant) engage in a formal analysis of this potential. Conducting this assessment, commonly called a feasibility study, involves taking multiple factors into consideration. These may include, depending on the event. likely budget requirements: managerial skill needs: venue capacities; host community and destination area impacts, both economic and non-economic; availability of volunteers and supporting services (for example, equipment hire firms); projected visitation/attendance;

infrastructure requirements; availability of public/private sector financial support (for example, grants;
see
figure 5.4); availability of sponsorship; level of political and community support; and the track record of the event, if it is not being conducted for the first time, in terms of matters such as profitability. It should be noted that the level of detail and complexity associated with these studies will vary. An event such as an Olympic Games, for example, would involve a more lengthy and detailed analysis than a state sporting championship or an association conference.

FIGURE 5.4 Extract from ‘Northern Beaches Council Events Grants 2018/19″

Northern Beaches Council, Sydney Event Grants Program overview The Events Grants Program has been developed in line with the Northern Beaches Events Strategy. It seeks to provide funding to eligible organisations for events taking place within the Northern Beaches Local Government Area (LGA).

The Events Grants Program aims to build the skills and resources of the community to deliver a rich and diverse calendar of local events that promote community participation and celebrate the unique social and cultural fabric in our villages and town centres. The outcome from the program will see enhanced 

CHAPTER 5& Strategic event planning 96

 

® John Wiley & Sons Australia, Ltd. Not for resale or distribution. Any unauthorised distribution or use will result in legal action economic, social, environmental and/or cultural benefits to the Northern Beaches community. The focus is on new and innovative events and others that add value and benefits to our local villages and town centres across the Northern Beaches. Council has $210 000 available in 2018/19 to fund events across three funding streams. No recurring funding will be offered during this round.

Total funding Opening date / Closing

Funding stream Max. funding available Date 

Local event or place $5000 $20 000 28 June 2018 / 6 August

activation 2018 Signature/regional events § $10000 $50 000 28 June 2018 / 6 August 2018 Major events $20 000-$50 000 $100000 Open all year round Local event or place activation  Grants of up to $5000 are available for events that:

* activate local town or village centres and places

* are supported by local businesses, community groups and organisations

* contribute to social and community outcomes © have local media

* are vibrant and diverse activations.

Regional event — Northern Beaches wide Grants of up to $10000 are available for events that:

* attract large numbers of people © are supported by local businesses and organisations with the potential to be a major event in the future

* contribute to economic, social and community outcomes

* have local and metropolitan media promotion. Major events Grants between $20 000 and $50.000 are available for events that:

* attract significant visitor numbers

* are supported by state agencies and/or national/international organisations © demonstrate measurable economic, social and community outcomes

* provide metropolitan, national and international media promotion

* demonstrate a plan for being self-sufficient into the future.

The major events stream is open to applications any time between 28 June 2018 and 30 May 2019 or until the funding has been allocated.

Objectives

Northern Beaches Council’s Events Grants Program aims to address Council’s vision and values outlined in the Community Strategic Plan by supporting events that:

* provide an opportunity for measurable economic, social, environmental and/or cultural benefits to Council and the Northern Beaches

* provide opportunities for the community to participate in and contribute to activities/events in the Northern Beaches LGA

* promote the Northern Beaches and contribute to its reputation as a great place to live, visit, work and invest.

 

Priority areas for funding Funding priority will be given to events that:

Source: Nocthem Beaches Council 2018.

Decision to proceed or cease

In the case of both mobile events and new events, while the outcomes of a feasibility study are a key input into the decision to proceed or not, it must be kept in mind that their role is to inform the decision-making process rather than to make a recommendation in this regard.

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Formation of a bidding committee and bid preparation

 

In the case of mobile events, once it has been decided to proceed with a bid, a committee will need to be established to prepare a formal bid document. This committee will commonly comprise individuals from within the bidding organisation; however, it might also include people from outside the organisation with expertise in specific areas. Advice and support for bidding committees is often provided, in the case of business events, by convention and visitors’ bureaux (see the chapter on event tourism planning).

 

The bidding process commonly involves several steps:

* developing a timeline for the preparation and presentation of a bid document to the owners of the event

* responding to cach of the bid criteria set by the event owners (see figure 5.3)

* identifying the key elements of past successful bids to ensure these elements are dealt with fully in the bid document preparing a bid document presenting and/or submitting a bid to the owners of the event  lobbying in support of the bid evaluating reasons for bid failure (if necessary).

It should be remembered that the bidding process is likely to commence some years prior to the date an event is scheduled to take place. It is also not uncommon for organisations secking to host an cvent to go through the bidding process on several occasions before they are successful, if indeed they do succeed. 

Establishment of an organisational structure

Once a decision is made to conduct an event, an organisational structure will need to be established through which the event can be delivered. Such structures serve to:

* indicate decision-making power and communication channels

+ establish formal relations between departments/committces/individuals

* provide a visual representation of how tasks will be grouped, so that the task of organisational coordination and job design becomes casier

* link activities and people with associated expertise so that events can be conducted effectively and efficiently

* define lines of reporting (Hill, Schilling and Jones 2016).

There are several organisational structures commonly used by event organisations. with the decision as to which structure is most appropriate depending on the characteristics and needs of the event itself.

 

Functional structures

 

As the name suggests, a functional structure is based upon the main tasks or functions that an organisation needs to perform to fulfil its mission. These tasks commonly emerge from the work breakdown structure process discussed in the chapter on event project management and will vary from event to event. As an example, the Roskilde Festival (see figure 5.5). a large Danish music festival, has placed several key tasks in the hands of its gencral management team, as w ll as identifying cight key functions to which additional managers have been assigned. Completion of these tasks, in turn, will require the engagement of group leaders, working arca managers and volunteers.

 

The more complex an event the greater the number of tasks that need to be embraced within a function-

based organisational structure. Figure 5.6 shows the complex organisational structure used to deliver the 2006 Commonwealth Games in Melboume, Victoria. This structure also serves to highlight the diversity of tasks associated with large-scale events. In this instance, tasks extend from those of a commercial nature to construction, overall project management, risk management, venue, financial, sport and human resource management, ceremonies and broadcasting.

A range of benefits can be attributed to the use of a function-based organisational structure within an event context. Central among these is that individuals can specialise, and so make use of their pre-existing expertise in a specific area as well as further develop this expertise. This is particularly the case when employces or volunteers are placed into functional teams where they can learn from others (Lynch 2018).

Additionally. when task areas are identified. and responsibility given to groups or individuals to carry them out, consideration can be given to the amount of work involved within cach task so that it can be realistically performed within the time available. The Sweet Pea Festival, Montana, for example, is an event run entirely by time-constrained volunteers, which accounts for the large number of task-based committees within its structure (figure 5.7). By breaking down an event into task areas, functional structures also reduce the possibility of inefficiencies resulting from overlapping areas of responsibility.

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| FIGURE 5.5 | The functional organisational structure of the Roskilde Festival

 

  1. Product
  2. Director of D Group Leaders
  3. Working Area Managers
  4. Project Managers Year-round Volunteers
  5. Source: Roskilde Festival 2010

 

Finally. as events tend to build their organisational structures quickly, and to tear them down even faster, this structure offers their organising bodies the ability to quickly add, subtract or expand the number of functional areas based on their needs. This capacity is particularly useful when it is necessary to functionally ‘evolve’ event organisational structures as an event moves from its planning phase through to its delivery.

While functional structures are a widely used approach to organisational design in event settings, there are nonetheless potential limitations to this method. These include problems of coordination, due partly to a lack of understanding by staff in individual functional areas of the responsibilities of people in other task areas, and the possibility of conflict between functional areas as cach secks to protect what it considers its interests (Hill, Schilling and Jones 2016). Various techniques can be identified that go some way to preventing these problems. These include employing multi-skilling strategies that require the rotation of staff through different functional areas, regular meetings between the managers of all functional areas, 

98 Festival & special event management essentials

® John Wiley & Sons Australia, Ltd. Not for resale or distribution. Any unauthorised distribution or use will result in legal action general staff mectings, and communications (such as newsletters) that aim to keep those engaged on the event aware of matters associated with its current status. such as the passing of milestones (for example, registration numbers, ticket sales, site build completions).

 2006 Commonwealth Games organisational structure

|_ Senior appointments and = Sponsorship sales

|. Finance committee -— Licensing and merchandising J Marketing Risk and =

ae Telatng

r _ – Sales and commercial }— Tourism r

committee Finance

Marketing and communications —— Publicity and media issues

| Finance and business services

|. Ceremonies committee = Legal

| Project planning, risk and Sport

Government relations 7 Workforce

| & Operations +- Venues

L_ Chief executive officer Project planning, risk and

| ~ Capital war coornton strategy

Ceremonies and events 1 Villages

| n Support * Athletes village

cemeeene ee ® Technical ciate vilage

:Gegeceren, |

* Cultural festival =  Source: Office of Commonwealth Games Coordination 2006.

 FIGURE 5.7 Sweet Pea Festival organisational chart

Human Admission ns spe = Division Divis F 2 Division

Source: Sweet Pea Festival 2008.

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Program-based matrix structures

 

Matrix structures group activities by function as well as by project (Hill, Schilling and Jones 2016). In an event context, such structures are often used in instances where multiple venues are involved, and result in staff having two reporting lines. For example, all staff associated with competition programming for a Sporting event may be required to report to a competition programming manager, but these same staff may also be assigned to different venues where they are also required to report to the venue manager.

Matrix structures often emerge out of functional structures in multi-venue events as their delivery date pproaches. The organisational structure of the 2000 Sydney Olympic Games, for example. moved from a functional structure to that of a venue-based matrix structure as the event date neared (figure 5.8) (Toohey and Halbwirth 2001; Sloman 2006). The reason for this movement lies in the need to ‘push’ functional expertise (for cxample, security, event programming, ticketing), which had been developed centrally, out to venues where these tasks need to be undertaken. By acting in this way, decision-making bottlenecks are largely avoided, as are communication problems that might have occurred if an event was to maintain its centralised functional structure.

Siem Sydney 2000 Olympic Games matrix organisational structure venue managers Seurce: Sloman 2006.

While there is much to recommend the use of a matrix structure when large multi-venue events are involved, if the event is to be presented as a unified whole, a high value must be placed on coordination across the various venues by senior management. Additionally, as staff located in venues effectively have two bosses, issucs can arise around communication, reporting and lines of authority.

Multi-organisational or network structures

Most specialist event management companies are relatively small (fewer than 20 people), yet many conduct quite large and complex events. This is possible because these organisations enlist the services of a variety of other firms (see figure 5.9). In effect, they create ‘virtual’ organisations that come together quickly and are disbanded shortly after an event is concluded. Central among the benefits of employing this structure is its ability to allow the event management organisation to specialise in the “management” function and so become increasingly capable in this area.

This structure also avoids the need to maintain a large staff with multiple skills which, for periods between events, would have little or nothing to do. Other advantages of a actwork structure include: its ability to contract specialist businesses with current expertise and experience; greater accuracy in the event costing process as supplicr expenses can be established via the contracting process; and quick decision-making as the ‘core’ management group is made up of only a few people one individual.

As with the other structures previously discussed, there are also possible disadvantages to be considered. These include concern over quality control and reliability that arise from the use of outside contractors, and the associated potential difficulties involved in developing an integrated ‘team’ to deliver the event. Nevertheless, network structures can be very effective for certain kinds of events (for example. corporate events), and their use is supported by contemporary management thinking on downsizing, sticking to core activities and outsourcing.

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Strategic planning stage

Once established, an event organisation’s first task is to engage in the formal strategic planning process. This involves moving through a number of sequential steps. The first involves the development of an event’s vision, mission and values which will serve to guide its subsequent actions. In the case of those events for which successful bids have been made, it should be noted that these might already exist.

Next, clear event goals and objectives need to be set to focus the event’s management team on how it is to progress the event’s vision and mission, engage with its values and benchmark its performance. An understanding of the internal and external factors that might impact on the event and shape its actions is then required before strategic options can be explored, a course of action determined and supporting operational plans developed. Systems and processes will also be needed to monitor and control progress, and to allow outcomes to be evaluated and reported on so that future event iterations can be improved upon.

It should also be noted that. if appropriate, the issue of generating and managing legacies from the event (for example, physical infrastructure) will need to be embraced as part of the strategic planning process.

Vision, mission and organisational values

Vision statements describe what the organisers of an event are seeking to achieve through its conduct in the longer term. In doing so they serve to: build a sense of commitment by those involved with it to a specific future direction; create a sense of the event’s identity; and communicate its aspirations to its various stakeholders (for example, attendees, sponsors. granting bodies and local community) (Thompson et al. 2016). In constructing such statements, consideration needs to be given to ensuring that they are distinctive and specific, and that they avoid being overly general in nature. For example, statements such ‘to be the best Food and Wine Festival in Australia’ offer little real guidance to those charged with themanagement of such an event.

When the first edition of this book was published some 20 years ago, few events could be identified that had sought to reflect on their long-term intent through the development of a vision statement. Today, such statements are not uncommon, and can be found on the websites of many public and corporate events.

Examples of these statements are provided in table 5.1.

 

TABLE 5.1 Selected event vision statements

 

Vision staternent

 

National Fok Festival, The National Folk Festival will be a nationally recognised, annual exposition and Canberra celebration of folk culture.

Ann Arbour Arts Festival, The Anna Arbour Arts Festival aspires to be a nationally recognised arts festival Michigan and enduring local treasure — a widely anticipated hub of community and Creative energy.

(continued)

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TABLE 6.1 = (continued) Vision statement

Global Privacy Assembly An environment in which privacy and data protection authorities around the work are able effectively to act to fulfil their mandates, both Individually and in concert, through ait fusion of knowledge and supportive connections.

Britt Music and Arts Festival, § Sntt Music and Arts Festival will be a nationally recognized, financially Oregon sustainable arts campus destination that embraces artistic risk-taking through expioration, collaboration and creation that intentionally integrates education and performance.

Silicon Valigy Jewish Film Silicon Vallay Jewish Fim Festival wif be regarded as a central, unitying event Festival, Silicon Valley across Silicon Valley that drives the connectivity with and within the Jewish, mufti-generational and increasingly diverse community.

Source: Ann Arbour Arts Festival 2010; Britt Music and Arts Festival 2020; Global Privacy Assembly 2020- National Folk Festival

Silicon Valley Jewish Film Festiwal 2018.

While a vision statement secks to be inspirational and guide an event’s future direction, a mission statement is descriptive and aims to identify its present nature and purpose (Thompson ct al. 2016). This being the case, such statements should make it clear why the event exists: how it intends to progress its purpose: and who the event secks to serve — its beneficiaries and/or attendee groups. Examples of effective event mission statements are provided in table 5.2.

 

Event Mission statement

 

World Dalry Expo World Dairy Expo serves as a forum for dairy producers, companies, organizations and other dairy enthusiasts to come together to compete, and to exchange ideas, knowledge, technology and commerce.

Peel Music Festival The Peel Music Festival aspires to unite and enrich the cormmmunities in the Peel ee ee ee eee arts. Established and maintained by local teachers, the festival strives to create and nurture an appreciation for these arts by providing students with further education

through exposure to professional adjudication and performances by their peers. Governor’s Hurricane The Governor’s Hurricane Conference (Conference) was established in order to Conference provide a vericie to present lessons learned and other important information about hurricanes to pubic and private officials, especially local emergency management professionals and those Involved In preparedness, planning, response and recovery at all levels of government, industry and private interests.

Pride in London Festival Be fully inclusive of all sections of the LGBT+ community, tree at the point of access. Provide 2 celebration of LGBT- life and a platform to continue the fignt for equality and to challange prejudice. Establish Pride In London on a sustainable footing and grow the festival over time to serve better the needs of London’s LGBT+ community and promote London as a beacon to the world.

Gasperilia Festival of the To produce an annual, premier juried outdoor art festival for the enjoyment and Arts, Flonda education of our patrons, artists and guests and the enhancement of the Tampe Bay afea’s Cultural arts.

Seurce: Gasparilla Festival of the Arts 2020, Gowermce’s Hurricane Comference 2020; Peel Music Festival 2020; Pride in London

2020, World Dairy Expo 2020.

Some event mission statements also incorporate a set of core values; however, these are increasingly
finding expression in separate valuc statements. These statements comprise those belicfs, traits or behaviours that the event organisation has determined should condition how it gocs about pursuing its vision and mission. The core values, for example, of Canberra’s National Folk Festival (2017) are as

follows:

 

© Respect — foc our traditional and contemporary folk culture: for ome another * Inclusiveness — openness to diverse participation, respecting personal contribution and effort 102 Festival 4 special event management essentials

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* Teamwork — common goals, different roles, collaborative action, shared accountability and rewards © Professionalism — good governance and management, honesty, integrity and transparency. A similar set of values has been developed by the Oregon Shakespeare Festival (2020)

* Excellence — We bring the best possible version of ourselves to our work onstage and to the organization, holding ourselves to high artistic, professional and personal standards.

* Inclusion — We include a diversity of people, ideas and cultures in our work, enriching our art, our relationships with cach other, our audiences and our community.

* Company — We sustain a safe and supportive workplace where we rely on our fellow company members to work toward excellence with trust, respect, compassion and accountability.

* Stewardship — We make wise, efficient and responsible use of all the resources entrusted to us, sustaining our long-standing financial stability, the legacy of our organization’s 80-year history, and the bealth of our planet.

Goals and objectives

Once an event’s vision, mission and values have been decided, the next task is to establish its goals and objectives. These serve to guide an event’s organisers in their efforts to progress its vision and mission, and provide a means of assessing progress towards them. It should be noted that while the terms ‘goals’ and “objectives” are often used interchangeably, they are nonctheless distinct concepts. Goals are broadstatements that seck to provide direction to those engaged in the organisation of the event, and as such have no time criteria attached to them or any form of quantification (Wheelen and Hunger 2012). Examples of event goals are provided in table 5.3.

TABLES.S Selected event goals

Event SFFILM Festival * Artist and Art-Form Impact: through Innovative partnering structures with individuals and foundations we will create new sources of support for filmmakers, ensuring their work ts made, seen, and appreciated.

* Education: through national online programs we will contribute to a fact- and information-based society and provide more context for young people and education professionals to shape ideas about the world.

* Systems: by investing In systerns we provide the tools to empower staff to assume leadership in their Individual roles and enabie better and more data-driven decision-making.

* Partners and Venues: through partnerships with key cultural institutions in San Francisco, we wil heip drive continuous improvement in cultural best practices, elevate the role of film in the civic culture and create a stable venue configuration for the San Francisco international Film Festival.

* Tech’New Media: by effectively engaging with the technology communities of the Bay Area, we provide a portal for other cultural organizations to find common cause with the sading changemakers on the planet.

* Audience/Community impact: experimentation with audience development and growth, through new and refined programs for youth and adults, wil inspire the formation of a more tightly bound community of people interested in film. 

Kalamazoo Postry Festival © Strengtnen the economic sustainabilty of KPF

© Increase diversity on the KPF board of directors
© Grow the Kalamazoo Poetry Festival’s offerings to meet demand

* Strengthen engagement In our community.

 

American College of Surgeons,
* Provide a professional forum to discuss and apply the most recant
Quality and Safety Conference knowledge pertaining to national, intemational, and local quality and safety initiatives In the fekd of surgery.

* Present methods used to analyse data trom ACS Quality Programs and Gemonstrate practical ways to use the data for quality Improvement.

* Assist nospitals and providers In managing, analysing, and interpreting data by providing education on proven methods that will empower hospfals and centres to make a positive Iimpect at thelr factities.

* Enhance the learming experience by offering breakout sessions that educate attendees on the topic areas of their choice and with consideration of their jevel of programmatic experience.

(continued)

CHAPTER 5 Strategic event planning 103

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TABLE 5.3 (continued)

Regina Folk Festival © We will host high-quallty music and arts events. © We will manage our resources to ensure sustainability and return to a break- even port by 2021 using our surplus to maintain what we are Going.

© We wil build and maintain a festival and a volunteer bese that are reflective of the communities we sarve.

© We wil Dulid and maintain appropriate and effective relationships over the next 3-4 years.

Source: American College of Sergeoms 2020; Kalamazoo Poetry Festival 21116; Regina Folk Festival 2017, SFFILM 2017

Objectives are used to quantify progress towards an event’s goals. In practice they serve to focus an event’s management, provide a means of tracking performance and act to motivate staff (Thompson ct al. 2016). Useful criteria that can be applied to the establishment of objectives are summed up by the acronym SMART, which refers to the fact that objectives should be:

* Specific — focused on achieving an event goal

* M easurable — expressed in a way that is quantifiable (when at all possible)

* A greeable — agreed on by those responsible for achieving them

* R ealistic — in terms of the event organisation having the human, financial and physical resources to achieve them

 * T ime specific — to be achieved by a specific time (ChangingMinds.org 2020). Events will vary in terms of the objectives they establish; however, common areas include those given  in table 5.4.

TABLE 5.4 Categories of event objectives

Type of objective Examples

Economic and tourtsm © Percentage return on monies invested or overall gross/net profit sought

© Dollar and in-kind value of sponsorship attracted/mercnandise soid/grants won/donations mace

© Percentage of Income to be raised trom fundraising activities

© Level of event-related spending by out-of-area visitors

* Number of full-time-equivalent local jobs resufting from evert

* Length of stay by out-of-area attendees

* Percentage of goods/services purchased locally by organiser

* Number of local traders

Attendance/participation © Total attendance/participation by specific groups {for example, saniors, the Socially disadvantaged, young singles, local versus out-Of-aree teams)

© Size of event in terms of stallholders/exhibttors/performers/eams/atten- dees/registrants

* Number of local versus international ertists/speakers/teams

© Level of repeat attendance/participation Quality © Level of attendee/extbitor/participant/vendor/sponsor/volunteer satisfaction

with event components/outcomes

© Number of complaints from attendees/perticipants/vendors/sponsors/ex- hiditorsvoluntears © Number of injuries, arrests and evictions Knowteage/attitudes/be- * Percentage of attendees that have changed leels of knowledge or intend to havieur @iter their behaviour

© Percentage of attendees that have altered attitudes towards a specific matter/issue

Hurnan resources * Percentage of staft/‘volunteer tumover during an event’s planning cycle

* Percentage of volunteers retained from previous year

© Ethnic diversity/gender composition of leadership tearn 104 Festival & special event management essentials

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‘Admnistration © Percentage reduction in cost to revenue ratio

© Level of outsourcing Marketing * Changes in marketplace perception of event/host destinationproduct/service

* Changes In level of product/service brand awareness

* Level of growth in target market attendee/perticipant numbers, exhibition stand Sales, vendor spaces sold and so on

* Percentage Increase In market share (if the event Is competing directly with  other similar events)

© Sales mada/leads obtained

Ld Level of effectiveness of promotional activities {for exarnple, number of social media engagements, enquiries inked to media advertising)

Communnty © Number of community groups/chartty partners votved

* Extent of community benefits (for example, changes In levels of community pride, social cohesion, appreciation/awareness of different art forms,

. i PrePrints 2 Environment © Energy/water usage levels © Waste generated

* Attendee use of pubiic versus private transport

* Level of enhanced awareness/understanding of environmental tssue(s)

* Level of pre- or post-event Involvement in environmental projects

 

Situation analysis

 

When establishing goals and objectives, along with the strategy an cvent will use to pursuc them consideration must be given by its management to its internal environment
— for example, financial
situation, staff expertise, technological capacities — and to its external cavironmeat
— for example,
number and type of competing events, legislative changes impacting event operations, community attitude to the event or events in general, and the impact of climate change. An analysis of these factors often takes the form of a SWOT analysis (strengths, weaknesses, opportunities and threats).

Such an analysis will likely involve referring to a range of existing information sources, including data collected by the event on its performance (assuming the event has taken place previously); information on the performance of similar events; census data: and general reports and studies on relevant matters such as trends in Icisure behaviour or the industry or professional ficld that it seeks to serve. On occasion it may be necessary to commission studies to fill information gaps or to update the event organisation on specific matters. A deeper understanding of the needs, wants, motives and perceptions of current or potential customer groups, for example, may be deemed necessary before dramatically altering an event’s program in an effort to increase attendance. (For a more detailed discussion of this aspect of strategic planning. see the chapter on marketing and sponsorship planning.)

Identification of strategy options

Events may pursuc any number of strategies depending on their vision, goals and objectives. Many of these strategies may not be of a business nature and concern matters such as community capital building, cultural development or environmental enhancement of the location where they take place. While acknowledging this, most events that seck to be ongoing require a business strategy(ies) that will allow them to progress their vision and associated mission. The discussion here focuses on these types of strategies.

 

Growth strategy

 

Many event organisations have a fixation on event size and, as such, seck to make their events bigger with cach iteration or larger than similar events, with growth being expressed in terms of more revenue, more event components, more participants or delegates, or a bigger market share. Bigger, however. is not necessarily better, as some event managers have discovered. For example, the Sydney Festival. a cultural festival that takes place each year in that city in January, had on one occasion adopted a growthstrategy, acting to absorb selected events taking place in Sydney at the same time and describing them as ‘umbrella’ events. Some critics observed that by doing this the festival seemed to be losing its focus. A 

CHAPTER 5 Strategic event planning 105

 

© Jonn Wiley & Sons Australia, Lid. Not for resale or disirmution. Any unauthorised distibution or use will result in legal action subsequent festival director responded to this criticism by concentrating the festival around the Sydney Harbour foreshore areas and decreasing the number of event components but increasing their quality.

It is important to recognise that an event does not necessarily have to increase in size for its participants to feel that it is better than those iterations of the event that preceded it — this can be achieved by dedicating attention to quality enhancement and improved planning.

Nonetheless, a growth strategy may be appropriate if historical data suggest there is a growing demand for the type of event concerned, or when a financial imperative necessitates increasing revenue. The annual Woodford Folk Festival in Queensland,for example, expanded the focus of its program a number of years ago by including contemporary rock acts in order to appeal to a market segment with a strong propensity to attend music events. The increased revenue gained in this way was then directed at repaying the festival’s debt.

 

Consolidation or stability strategy

 

In certain circumstances it may be appropriate to adopt 4 consolidation strategy — that is, maintaining attendance at a given level. Strong demand for tickets to the Port Fairy Folk Festival. an annual event in Victoria, for example, has allowed this event to sell tickets well in advance. cap attendance numbers and further enhance the quality of its program. By capping ticket sales in a climate of high demand, this event also created a situation in which it had greater pricing freedom. The Woodford Folk Festival, mentioned previously, has also employed a similar strategy in recent years (Music Feeds 2017).

 

Retrenchment strategy

 

An ongoing event’s situational analysis may suggest that an appropriate strategy is to reduce its size. This strategy can be applicable when the operating eavironment of an event changes. Retrenchment can seem a defeatist or negative strategy. particularly to long-standing members of an event committee, but it can be a necessary response to an unfavourable economic environment or major change in the sociocultural environment. The management of a community festival. for example, may decide to delete those festival elements that were poorly patronised and focus only on those that have proven to be popular with its target market. Likewise, an exhibition company that had previously conducted a conference in association with one of its major exhibitions may cease to do so duc to falling registrations. Resources freed through these means can be used to add value to those clements that remain, and in so doing strengthen its capacity to increase attendance in future.

 

Combination strategy

 

As the name suggests. a combination strategy includes clements from more than one of the previously cited generic business strategies. An event manager could, for example, decide to cut back of even delete some aspects of an event that no longer appeal to their event target market(s), while concurrently growing other aspects.

 

Strategy evaluation and selection

 

To identify which strategic option(s) is likely to be most successful in progressing an event organisation’s  vision and mission, some form of analysis is necessary. In this regard, Lynch (2018), while acknowledging  that cach organisation will approach this task in their own way, identifies six general criteria that can be used for this purpose.

Consistency with vision, mission and goals. If a strategic option does not meet an organisation’s vision, mission and goals there is a strong case for dismissing it.

 

Suitability. A strategy, when viewed within the context of the environment in which an organisation is operating and its available resources, needs to be seen as  Validity. Any assumptions, for example, the likely future demand for the type of event upon which a strategy is based, need to be well supported by appropriate research.

Feasibility of options. A proposed strategy must be able to be carried out. Areas where possible constraints might arise need to be considered by an event’s management, including the following.

(a) Organisational culture, skills and resources. Will an event organisation have the financial capacity Of expertise necessary to pursue a strategy?

(b) Constraints external to an organisation. Will an event’s customer base be accepting of a strategy?

Will competing events adapt quickly and restrict the ability of an event organisation to pursue its chosen strategy? Will government or other regulatory bodies allow a strategy to be progressed?

(c) Lack of commitment from management and employees. There must be acceptance of whatever Strategy is selected by an event’s management and staff if it is to have a reasonable chance of success.

 

106 Festival & special event management essentials

Business risk. Strategic options bring with them various levels of risk. Such risks need to be identified and assessed in terms of how acceptable they are to the event organisation. For example, an exhibition company that is thinking of doubling the size of one of its major exhibitions would aced to establish what potential impact such a growth strategy would have on its cash flow and borrowing requirements.

As part of this analysis it would need to work through various scenarios around different cost structures, levels of demand, and exhibitor and entry fees. Aftractiveness to stakeholders. Whatever strategy is chosen needs to have some appeal to an event organisation’s major stakeholders. This may be difficult to achieve at times. For example, the organisers  of a major city-based festival may wish to pursue a retrenchment strategy duc to overcrowding and associated traffic congestion that they view as compromising the experience of attendees, as well as creating problems for residents around the event site. Major sponsors, on the other hand, may be against such a strategy as it might reduce the number of people exposed to their promotional efforts.

Operational planning

Once a strategy(ies) has been agreed upon, the event organisation needs to develop a series of supporting operational plans. The application of project management practices and techniques (see the chapter on event project management ) is particularly useful at this point in the strategic planning process.

Operational plans will be needed for all areas central to the achievement of an event’s goals and objectives. Areas for operational planning will vary depending on the nature and scale of the event concerned. In the case of a lange festival, for example, operational plans would likely be needed in the areas of finance/budgeting. marketing, administration, staging and site management, research and evaluation, security and risk, sponsorship, cnvironmental management, programming, transportation, merchandising and staffing (paid and volunteer).

 

Each area for which an operational plan is developed will require: a set of objectives that are linked to the achievement of the overall event organisation’s strategy; action plans and schedules; monitoring and control systems; and an allocation of resources (financial, human and supporting equipment/services).

 

Given that many festivals, exhibitions and events are not one-off but occur at regular intervals — yearly, biennially or, in the case of some major sporting events, every four years — standing plans can often be used in operational areas. Standing plans are made up of policies, rules and standard procedures and serve to reduce decision-making time by ensuring similar situations are handled in a predetermined and consistent way. Policies can be thought of as guidelines for decision-making.

An event might, for example, have a policy of only engaging caterers that meet particular licensing criteria. Policies, in tum, are implemented by following established detailed instructions known as procedures. In the case of the previous example, procedures may require the person responsible for hiring caterers to inspect their licence(s), check that they are current, and obtain copies for the event’s records. Rules are statements governing conduct or action in 4 particular situation. An event may establish rules, for example, regarding what caterers can and cannot do with the waste they gencrate on- site, of on what they can or cannot sell.

In some instances, particularly in the context of large-scale sporting events, the capacity of selected operational plans to work in prictice may be tested through the conduct of test events. Test events also provide a ‘real world’ training opportunity for staff and assist in the development of greater coordination between the various ‘teams’ involved in event delivery.

 

Control systems

 

Once operational plans are implemented, mechanisms are required to ensure that actions conform to plans, and to provide information to event organisers so that they can adjustment their operational plans in line with changed circumstances. These mechanisms take the form of systems that allow performance to constantly be compared to operational objectives. The establishment of performance benchmarks and milestones, such as tickets sold or sponsorship received by specific dates, for example, can indicate progress towards these objectives. Meetings and reports are also central to the control process, as are budgets which allow actual costs and expenditure to be compared and updated against those that were originally projected for the various operational areas.

 

Event evaluation and reporting

 

For many events, evaluation remains a neglected aspect of their strategic event planning process: yet, it is only through evaluation that event organisations can determine how successful or otherwise their efforts have been in achieving whatever goals and/or objectives they have set. The information that is captured allows reports to be prepared not only for the management of the event itself, but also for

 

CHAPTER 5 Strategic event planning 107

 

© Jonn Wiley & Sons Australia, Lic. Not for resale or disiripution. Any unauthorised @stibution or use will result in legal action stakeholders such as granting bodies, sponsors and permissory bodies (for example, police. local councils). Additionally. problems and shortcomings in current event planning and delivery processes can be identified and recommendations made for change. In table 5.5, an example is given of how onc event (the National Folk Festival, Canberra) has used evaluation practices to determine how successful it has been in achieving its stated goals.

 

TABLE 5.5 Extract from National Folk Festival, Strategic Ptan 2017-2020

 

Goals

What are we trying to achieve?

Strategy

The actions we undertake to Geliver the goals.

Key de®verabies How will we know If we have achieved our goals?

 

 * Maintain a high-quailty program of * Artistic programming ts balanced, present an artistically activity reflecting both traditional and Giverse and attractive to ail festival engaging and exciting comtemporary folk culture. participants festival.

 * Ensure a program mix of establisned * Industry and folk Community critical artists, festival favourites, community feedback Is positive. groups and new and emerging * Participant surveys reflect positive performers, over a range of genres. festival experiences.

* Create a dynamic environment * Box Office targets are achieved. that actively promotes access and * Venues are full and vibe of the festival Participation In the foi arts within the is good. festival.

FINANCIAL © Responsibly manage the financiat * A minimum of 25% of generated Strong financial affairs of the National Fok Festival surplus has been reinvested to targeted resifience. (NFF) projects such as staffing, set design,

© Ensure stable financial reserves. office and production technology and
© Maintain informed and responsibie equipment. budgeting. * A minimum of 25% of generated

© Continually review af business Surplus has been invested In fok

@nd income streams utilising new communities. such as online and * The budget target for an annual surplus Cashiess point of sale. of $100 000 nas been realised.

© Diversity Income sources. © There Is an annual contribution toward

© Invest in the business. the targeted cash reserve of $1 million.

© We have conducted an annual review of come streams to reflect current costs and adjusted accordingly. ¢ Annuai extemal financial auctt ts unqualified.

* Ticket income Increased by 2% annually.

* Diverse commercial opportunities have been reviewed and implemented cluding: sponsorship for venues; vanabie stall rates; Festival Shop sales; and year-round merchandise.

* Effectively Implamented cashless transactions for the NFF.

* Income trom sponsorships and grants ‘s at 10% of revenue.

* Aminimum of one new partnersnip or sponsorship has been added annually to support our financial base.108 Festival 4 special event management essentials

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MARKETING & * Raise the profite of the NFF nationally,
* Implamented clear brand recognition
COMMUNICATION In Canberra and the region. Including consistent messaging and
Innovative marketing * Develop brand recognition through signage. and promotion. Innovative marketing strategies. * Increased volume and Improved quailty

* Davelop and implement appropriate of media activity. marketing, promotion and mega
* Strengthened tne NFF website and
Strategies. social Media presence across af
* Develop and expand positive platforms. felationships with relevant media and * Implemented analysis of ticketing data

Promotional partners. and participant survey information to

* Develop and refine our patron database understand our audience and measure to promote the festival and attract new Pattems Including sales history and audiences. :

 

© Feedback from comprehensive surveys Is considered in delivery of future festivals.

* New marketing options and reiation- ships nave been explored.

BUSINESS * Undertake effective economic and * Procedures and practices have been Good business, and an Sustainable business practices. subject to continual review reflecting a efficient organisation. * Maintain computer and office systems organisation. that are ft for purpose, effectively © Post-festival debrief by board and administration, financiat Staff updates the Strategic and related and other record keeping as required. Business Plans.

© Estabiish collaborative alliances * Consistent and engaging positive 8nd positive retationships with key relationships are maintained with stakeholders. key stakeholders ACT * Maintain continual engagement with Government and other users of EPIC. our service providers and contractors. * Commercial relationships with service

* Maintain and develop partnerships with suppliers have been developed.

national cultural institutions. * All commercial suppliers” schedules and contracts have been reguiarty reviewed.

* The NLA Fok Fellowship has been Gellvered.

° New presenter partnerships with national cultural orgartsations are delivered.

PEOPLE * Continue to Implement ethical, respon- = * All staff have clear Guty statements,

A motivated flextleteam.site and supportive employmentpractices.

© Maintain a high jevel of trust and goocmatll with our artists, their agents and managers, staff and volunteers.

© Attract, retain and train qualified and engaged personnel, both paki and volunteer throughout the year and at the testtval.

Ensure there are appropriate personnel  in critical areas to mitigate against staff employment contracts, and have undertaken an annual performance review.

* Workplace Collaborations and efficient practices that support a positive and Productive work culture nave been IdentiNed and implemented.

* Open and fair negotiations have been maintained with all artists and their agents who acknowledge the NFF as the festival of choice at which to

fatigue. perform.

* Develop effective succession plans * We have retained experienced to ensure retention of corporate volunteers while also recrulting new knowledge. volunteers.

(continued)

 

CHAPTER 5 Strategic event planning 109

 

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TABLE 5.5 contmved)

Goals

What are we trying to achieve?

Effective and sustain- able governance.

OPERATIONS

Smooth, efficient operations and a sate festival.

Strategy

The actions we undertake to Gellver the goals

 

e Ensure an effective board with strong

strategic leadership and governance

appropriate for a not-for-proft cuftural

 

organisation.

  1. Ensure the NFF operates and compiles
  2. Conduct an annual board review.
  3.  Operational policies and procedures are requiarly reviewed and updated.
  4.   Ensure participants are welcomed to the NFF with behaviour consistent with the NFF core values. © Participant experience at af levels of engagement in the festival Is positive. © Design and provide a festival site that Is welcoming, accessible and sate.
  5.  Consolidate the NFF site design and signage.
  6.  * Pursue ethically sourced supplies and Implement environmentally sustainable practices.
  7.   Engage with independent contractors to enable reuse of production material.
  8.  Provide event production personnel with appropriate resources to deliver the festival.
  9.  All personnel continue to work in a safe and appropriately managed worksite at ail times. Key de®verabies How will we know If we have achieved our goals?
  10.  Coordinator and volunteer roles have been Gocumented, understood and implemented by ali relevant parties. © We have Identified and implemented opportunities for ski—is development for staff, volunteers and coordinators.
  11.   Online volunteer coordinator resources are continually reviewed and provide essential Information for all. 
  12.  Board membership refiects NFF core values
    © The board maintains a strategic protiie.
    © The board has exercised oversight for financial and operational nsk assessment and ensured that are maintained. board member oversight to reflect the needs of the NFF.
  13.  Governance training for boerd and staff has been undertaken.
  14.  The NFF Annual Report has been published and reflects the good governance of the Company.
  15.  Attendee surveys reflect ongoing positive experiance.
  16.  Attendee surveys and NFF monitoring Kdentity improvernents in people movement on the festival site.
  17.  Where possibie and viabie all supplies have been ethically sourced.
  18.  The NFF continues to be recognised by participants and industry as an environmentally aware testtval.
  19.   All relevant external requiatory bodies approve compilance.
  20.  Required resources have been Kdentified, scheduled and caltvared for implementation of the festival.
  21.   The NFF was safe for participants and staff and had conformed to all requiatory standards to mitigate the risk of on-site incidents.
  22.  The NFF continues to implement a low energy footprint.

Seurce: National Folk Festiwal 2017.

Legacy

Some events have the capacity to generate legacy outcomes for the locations in which they take place. For this reason, national, state and local governments seck to attract selected events through the bidding Process. create new events, of act to support the efforts of other bodies wishing to do so through such means as grants. The potential outcomes that events can generate are many and varied. and will depend on the scale and nature of the event concerned. but can include: infrastructure improvements, ongoing 110 Festival 4 special event management essentials © Jonn Villey & Sons Australia, Lic. Not for resale or distrmution. Any unauthorised disibution or use ‘will result in legal action increases in tourism visitation, enhanced industry capacities, improved workforce skills, environmental enhancement and improved local economic conditions.

To secure event legacies some writers (see Kearney 2006) suggest that a separate legacy program be  created as part of the overall strategic planning process, and that, in the case of large-scale events, a senior level management position be built into their organisational structure with this specific responsibility. While few events have yet to act in this way, the issue of legacy is nonetheless a major consideration for the owners of large scale events, along with those host destination-based organisations that act to deliver them. The body responsible for infrastructure development and event delivery for the 2022 Qatar FIFA

World Cup, for example, carries the title of “The Supreme Committee for Delivery & Legacy” (2020),
while the International Olympic Committee has an active program designed to assist Olympic Games organisers with legacy planning (International Olympic Committee 2020).

 

Strategic planning for existing events

While the preceding discussion has concentrated on new events, of events for which bids have beenmade, many ¢vent organisations will be responsible for the conduct of recurring events such as annual festivals or conferences. In such situations, the event organisation concerned would begin by reviewing the validity of the event’s current vision and mission, before going on to assess its current situation, review its organisational structure and assess the effectiveness of its present strategy. This process is likely to result in minor changes or refinements of, occasionally, major revisions. Nonetheless, event managers need to keep in mind — as Mintzberg, Quinn and Voyer (1995) point out — that the strategic planning Process tends to encourage incremental change. when what might be needed is a complete rethink of the current strategy.

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