Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4069
P. Kelly, J. Jordan, C. Newbold, Kristy Diaz
In this chapter we set out the principles, the possibilities, the processes and the practicalities of designing your festival. We start from the principle that festival design is first and foremost the artistic creation of the event, mentally and physically. That is, first the festival is conceived in the designers’ mind: it is imagined, reflected on and desired. Second, the designer works through the possibilities and practicalities of what they want to do, including the key area of programming, before moving on to the process of festival production. As we shall see the increasing necessity of designing a good festival ‘experience’ is all important. There is, however, no shirking the many physical and practical considerations, such as venue size, utilities, and duration, all of which have to be considered at this design stage. This chapter assumes you are starting from scratch, because that ensures we cover all of the bases. If you are designing or redesigning a festival that already exists, the main difference is that you will need to know what your audiences and other stakeholders value about the festival’s current design so you don’t alienate them. This chapter defines what festival design includes and stresses the importance of being clear on why you want to produce a festival. It looks at the central factors that sustain a festival. What is the festival’s rationale? What is its vision? What makes for a good programme? You may already have a clear idea of what you want to do and why, in which case this chapter will be a good means of testing it. Alternately you may know you want to stage a festival but may not be clear on the theme or rationale. This chapter will help you focus on that. Finally, festivals are a combination of vision and detail. It is often easiest to start with the details such as logo design or decor, but don’t let that distract you from the core questions of why you want to undertake this difficult, tiring and risky project, and who you are producing it for. The chapter starts with the vision and rationale as this will inform the all-important detail that will follow. You don’t build a house without first laying the foundations. Festival design can involve a wide range of rationales and motivations. These can include personal motivators including beliefs and philosophy, aesthetic and artistic rationale, place and spatial issues and of course finances. We will examine all of them in this chapter.
{"title":"Festival Design and Programming","authors":"P. Kelly, J. Jordan, C. Newbold, Kristy Diaz","doi":"10.23912/978-1-911396-82-6-4069","DOIUrl":"https://doi.org/10.23912/978-1-911396-82-6-4069","url":null,"abstract":"In this chapter we set out the principles, the possibilities, the processes and the practicalities of designing your festival. We start from the principle that festival design is first and foremost the artistic creation of the event, mentally and physically. That is, first the festival is conceived in the designers’ mind: it is imagined, reflected on and desired. Second, the designer works through the possibilities and practicalities of what they want to do, including the key area of programming, before moving on to the process of festival production. As we shall see the increasing necessity of designing a good festival ‘experience’ is all important. There is, however, no shirking the many physical and practical considerations, such as venue size, utilities, and duration, all of which have to be considered at this design stage. This chapter assumes you are starting from scratch, because that ensures we cover all of the bases. If you are designing or redesigning a festival that already exists, the main difference is that you will need to know what your audiences and other stakeholders value about the festival’s current design so you don’t alienate them. This chapter defines what festival design includes and stresses the importance of being clear on why you want to produce a festival. It looks at the central factors that sustain a festival. What is the festival’s rationale? What is its vision? What makes for a good programme? You may already have a clear idea of what you want to do and why, in which case this chapter will be a good means of testing it. Alternately you may know you want to stage a festival but may not be clear on the theme or rationale. This chapter will help you focus on that. Finally, festivals are a combination of vision and detail. It is often easiest to start with the details such as logo design or decor, but don’t let that distract you from the core questions of why you want to undertake this difficult, tiring and risky project, and who you are producing it for. The chapter starts with the vision and rationale as this will inform the all-important detail that will follow. You don’t build a house without first laying the foundations. Festival design can involve a wide range of rationales and motivations. These can include personal motivators including beliefs and philosophy, aesthetic and artistic rationale, place and spatial issues and of course finances. We will examine all of them in this chapter.","PeriodicalId":424886,"journal":{"name":"Principles of Festival Management","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123587800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4063
J. Jordan, Kristy Diaz, C. Newbold, P. Kelly
Marketing, promotion, sales, communications, audiences, participation – the concepts covered in this section are a fundamental part of festival management, whether your event is a community fête or a globally recognised music festival. The word ‘marketing’ originated from the simple forms of buying and selling that can be seen in a local street market, but the term now encompasses a range of sophisticated techniques that have developed to help companies decide what products and services to produce and how to persuade people to buy them. This chapter introduces marketing concepts and illustrates how festivals and cultural events can adapt the techniques to develop appropriate experiences for festival-goers, artists and communities. This chapter will introduce concepts such as supply and demand, segmentation and targeting, CRM (customer relationship management), experience marketing and its relationship to service design, and branding. It will raise questions about the extent to which a festival’s artistic programme can or should be led by market demand, whether the relationship between artists and festival-goers is more complex than those expected in traditional marketing models and about the ethics of storing and using data collected on festival-goers’ behaviours and preferences.
{"title":"Festival Marketing","authors":"J. Jordan, Kristy Diaz, C. Newbold, P. Kelly","doi":"10.23912/978-1-911396-82-6-4063","DOIUrl":"https://doi.org/10.23912/978-1-911396-82-6-4063","url":null,"abstract":"Marketing, promotion, sales, communications, audiences, participation – the concepts covered in this section are a fundamental part of festival management, whether your event is a community fête or a globally recognised music festival. The word ‘marketing’ originated from the simple forms of buying and selling that can be seen in a local street market, but the term now encompasses a range of sophisticated techniques that have developed to help companies decide what products and services to produce and how to persuade people to buy them. This chapter introduces marketing concepts and illustrates how festivals and cultural events can adapt the techniques to develop appropriate experiences for festival-goers, artists and communities. This chapter will introduce concepts such as supply and demand, segmentation and targeting, CRM (customer relationship management), experience marketing and its relationship to service design, and branding. It will raise questions about the extent to which a festival’s artistic programme can or should be led by market demand, whether the relationship between artists and festival-goers is more complex than those expected in traditional marketing models and about the ethics of storing and using data collected on festival-goers’ behaviours and preferences.","PeriodicalId":424886,"journal":{"name":"Principles of Festival Management","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132995101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4066
P. Kelly, C. Newbold, J. Jordan, Kristy Diaz
In order to run your festival, you will need to comply with a range of legislation, obtain a number of licenses, and get permissions of some sort from various authorities. The nature of those permissions will depend entirely on the type of festival you are running, the country you are in and the types of locations you are using. If your festival is selling drink you will need an alcohol license and if it is taking place on public or private land it may well need a licence from the local authority. In a venue, like a theatre, which already has a creative programme it is likely that it will come with many of the permissions you need. If your festival is on a greenfield site, it is quite possible it will have none and that you will have to obtain all these permissions for yourself.
{"title":"Festivals and the Law","authors":"P. Kelly, C. Newbold, J. Jordan, Kristy Diaz","doi":"10.23912/978-1-911396-82-6-4066","DOIUrl":"https://doi.org/10.23912/978-1-911396-82-6-4066","url":null,"abstract":"In order to run your festival, you will need to comply with a range of legislation, obtain a number of licenses, and get permissions of some sort from various authorities. The nature of those permissions will depend entirely on the type of festival you are running, the country you are in and the types of locations you are using. If your festival is selling drink you will need an alcohol license and if it is taking place on public or private land it may well need a licence from the local authority. In a venue, like a theatre, which already has a creative programme it is likely that it will come with many of the permissions you need. If your festival is on a greenfield site, it is quite possible it will have none and that you will have to obtain all these permissions for yourself.\u0000","PeriodicalId":424886,"journal":{"name":"Principles of Festival Management","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123245386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4077
J. Jordan, C. Newbold, P. Kelly, Kristy Diaz
It used to be called ‘personnel’, or ‘personnel management’, and now has the title ‘human resources management’, usually shortened to HRM. Within large organisations it can be the least visible until people problems arise. It has to undertake the dull but vitally necessary tasks of ensuring that an organisation’s ‘people management’ complies with the law and that the company gets the best out of the people it employs. So, what’s this got to do with the comparatively small, lively, friendly, funky, chaotic world of festivals? No matter how small and cuddly your festival is, the management of people, whether full time or very occasional, will be crucial to your success. This chapter sets out the principles which will increasingly apply as your festival develops and grows.
{"title":"Managing Human Resources","authors":"J. Jordan, C. Newbold, P. Kelly, Kristy Diaz","doi":"10.23912/978-1-911396-82-6-4077","DOIUrl":"https://doi.org/10.23912/978-1-911396-82-6-4077","url":null,"abstract":"It used to be called ‘personnel’, or ‘personnel management’, and now has the title ‘human resources management’, usually shortened to HRM. Within large organisations it can be the least visible until people problems arise. It has to undertake the dull but vitally necessary tasks of ensuring that an organisation’s ‘people management’ complies with the law and that the company gets the best out of the people it employs. So, what’s this got to do with the comparatively small, lively, friendly, funky, chaotic world of festivals? No matter how small and cuddly your festival is, the management of people, whether full time or very occasional, will be crucial to your success. This chapter sets out the principles which will increasingly apply as your festival develops and grows.","PeriodicalId":424886,"journal":{"name":"Principles of Festival Management","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122225166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4072
P. Kelly, C. Newbold, J. Jordan, Kristy Diaz
The safe and efficient organisation of your festival is not just crucial to the artists who perform and the audiences who attend, it’s crucial to your finances, your brand reputation and, ultimately, your career. Festivals are a chance for artists to show their inventiveness and brilliance and for audiences to be transported away from the daily humdrum of everyday life; to be entertained and inspired. Those interactions between artist and audience can result in a range of outcomes from intellectually challenging, to entertaining and sometimes life-changing. But the perceived glamour that creative festivals inevitably suggest is built on the rather dull yet essential disciplines of planning and logistics. These days, given the increasing complexities of new technology and larger productions to bigger and bigger crowds, plus the creative desire to continually push boundaries and a growing concern for public welfare, planning and logistics have become ever more vital. Benjamin Franklin famously said, “If you fail to plan, you are planning to fail”. It is a saying widely adopted by the military, who are generally very good at planning. We would add to that, if you fail to plan, you will also heap stress on yourself and all your problems and challenges will probably arrive at the same time.
{"title":"Planning, Logistics and Management","authors":"P. Kelly, C. Newbold, J. Jordan, Kristy Diaz","doi":"10.23912/978-1-911396-82-6-4072","DOIUrl":"https://doi.org/10.23912/978-1-911396-82-6-4072","url":null,"abstract":"The safe and efficient organisation of your festival is not just crucial to the artists who perform and the audiences who attend, it’s crucial to your finances, your brand reputation and, ultimately, your career. Festivals are a chance for artists to show their inventiveness and brilliance and for audiences to be transported away from the daily humdrum of everyday life; to be entertained and inspired. Those interactions between artist and audience can result in a range of outcomes from intellectually challenging, to entertaining and sometimes life-changing. But the perceived glamour that creative festivals inevitably suggest is built on the rather dull yet essential disciplines of planning and logistics. These days, given the increasing complexities of new technology and larger productions to bigger and bigger crowds, plus the creative desire to continually push boundaries and a growing concern for public welfare, planning and logistics have become ever more vital. Benjamin Franklin famously said, “If you fail to plan, you are planning to fail”. It is a saying widely adopted by the military, who are generally very good at planning. We would add to that, if you fail to plan, you will also heap stress on yourself and all your problems and challenges will probably arrive at the same time.","PeriodicalId":424886,"journal":{"name":"Principles of Festival Management","volume":"AES-9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126517968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4062
J. Jordan, C. Newbold, P. Kelly, Kristy Diaz
Running or working for a festival, you will find that you have to deal with issues related to structure and staff roles almost on a daily basis. These management issues will sit alongside leadership questions about your festival’s purpose, values, governance and ethos. In this chapter, you will be introduced to leadership models and different management structures and roles within festival production. The chapter will emphasise the role of leadership in the cultural sector, including artistic and creative vision. It will introduce the concept of organisational culture and discuss the relationship between structure, culture and values. It will also discuss and illustrate the key roles in festival management and delivery. So, what does the term ‘leadership’ mean and how does it differ from the term ‘manager’ which is also often used to describe people in authority? Titles have over the years changed, so what were once ‘managing directors’ at the top of companies are now ‘chief executives. So, are leaders and managers or directors and chief executives the same role but by a different name? The answer is that it very much depends on the individual and the organisation. But in general terms leaders and managers are now thought of in different terms, both in terms of skills and roles.
{"title":"Festival Leadership, Structures and Roles","authors":"J. Jordan, C. Newbold, P. Kelly, Kristy Diaz","doi":"10.23912/978-1-911396-82-6-4062","DOIUrl":"https://doi.org/10.23912/978-1-911396-82-6-4062","url":null,"abstract":"Running or working for a festival, you will find that you have to deal with issues related to structure and staff roles almost on a daily basis. These management issues will sit alongside leadership questions about your festival’s purpose, values, governance and ethos. In this chapter, you will be introduced to leadership models and different management structures and roles within festival production. The chapter will emphasise the role of leadership in the cultural sector, including artistic and creative vision. It will introduce the concept of organisational culture and discuss the relationship between structure, culture and values. It will also discuss and illustrate the key roles in festival management and delivery. So, what does the term ‘leadership’ mean and how does it differ from the term ‘manager’ which is also often used to describe people in authority? Titles have over the years changed, so what were once ‘managing directors’ at the top of companies are now ‘chief executives. So, are leaders and managers or directors and chief executives the same role but by a different name? The answer is that it very much depends on the individual and the organisation. But in general terms leaders and managers are now thought of in different terms, both in terms of skills and roles.","PeriodicalId":424886,"journal":{"name":"Principles of Festival Management","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127010879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4064
Kristy Diaz, C. Newbold, J. Jordan, P. Kelly
What exactly is digital? Debated by those who are less tech-savvy and those with advanced knowledge alike, the term ‘digital’ has been notoriously difficult to define. We see it used mostly as a prefix – digital device, digital television, digital divide – but, for the purposes of this book when we say ‘digital’ we are referring to the use of digital technology and communications. This chapter focuses on giving you an understanding of how digital technology and communications are used in festival management, and how you can use them to maximise the success and impact of your festival. So why is digital technology so important? Before looking at the practicalities, it is worth looking briefly at how it has developed and has had a fundamental and mostly liberating impact on both marketing and human communications. Digital technology has had an impact on arts and culture in the following ways: mass communications, access, rights and ownership (copyright) and networking, power and control.
{"title":"Managing Festivals in a Digital World","authors":"Kristy Diaz, C. Newbold, J. Jordan, P. Kelly","doi":"10.23912/978-1-911396-82-6-4064","DOIUrl":"https://doi.org/10.23912/978-1-911396-82-6-4064","url":null,"abstract":"What exactly is digital? Debated by those who are less tech-savvy and those with advanced knowledge alike, the term ‘digital’ has been notoriously difficult to define. We see it used mostly as a prefix – digital device, digital television, digital divide – but, for the purposes of this book when we say ‘digital’ we are referring to the use of digital technology and communications. This chapter focuses on giving you an understanding of how digital technology and communications are used in festival management, and how you can use them to maximise the success and impact of your festival. So why is digital technology so important? Before looking at the practicalities, it is worth looking briefly at how it has developed and has had a fundamental and mostly liberating impact on both marketing and human communications.\u0000Digital technology has had an impact on arts and culture in the following ways: mass communications, access, rights and ownership (copyright) and networking, power and control.\u0000","PeriodicalId":424886,"journal":{"name":"Principles of Festival Management","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125064753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4079
P. Kelly, C. Newbold, J. Jordan, Kristy Diaz
In our previous chapters we have covered festival planning, logistics and the different types of licensing and insurances that you might require to run your event. This chapter assumes that you now have a viable festival plan and it focusses on how you put that plan into practice in the run-up to your festival and during the festival itself. We will start by looking at the purpose and principles of operations management, then turn to the processes of getting the necessary permissions and the paperwork you will need to assemble. We will then look at the permissions you will need to run your event and how to obtain those. We will outline the sort of health and safety documentation you will need including risk assessments. We go on to cover issues of first aid, crowd management, security, staffing and communications. Our experience of these systems and processes is from the UK, and we have used that throughout this chapter. Other countries and territories will have different arrangements, but the principle that your event will probably need some form of authorisation should alert you to the importance of identifying whom you need to talk to and what factors you should consider. An Event Management Plan (EMP) is a key document enabling you to run your festival smoothly and effectively and demonstrating to others that you can do so. But the EMP, however good, will not run your festival for you. Only you and your team can do that. The success of your festival will partly be down to the quality of your planning and partly down to the effort and vigilance you put in whilst it is running. But a good EMP and a simpler Operations Plan will help you hugely to run your festival smoothly and will be a vital support if you encounter problems.
{"title":"Festival Operations","authors":"P. Kelly, C. Newbold, J. Jordan, Kristy Diaz","doi":"10.23912/978-1-911396-82-6-4079","DOIUrl":"https://doi.org/10.23912/978-1-911396-82-6-4079","url":null,"abstract":"In our previous chapters we have covered festival planning, logistics and the different types of licensing and insurances that you might require to run your event. This chapter assumes that you now have a viable festival plan and it focusses on how you put that plan into practice in the run-up to your festival and during the festival itself. We will start by looking at the purpose and principles of operations management, then turn to the processes of getting the necessary permissions and the paperwork you will need to assemble. We will then look at the permissions you will need to run your event and how to obtain those. We will outline the sort of health and safety documentation you will need including risk assessments. We go on to cover issues of first aid, crowd management, security, staffing and communications. Our experience of these systems and processes is from the UK, and we have used that throughout this chapter. Other countries and territories will have different arrangements, but the principle that your event will probably need some form of authorisation should alert you to the importance of identifying whom you need to talk to and what factors you should consider. An Event Management Plan (EMP) is a key document enabling you to run your festival smoothly and effectively and demonstrating to others that you can do so. But the EMP, however good, will not run your festival for you. Only you and your team can do that. The success of your festival will partly be down to the quality of your planning and partly down to the effort and vigilance you put in whilst it is running. But a good EMP and a simpler Operations Plan will help you hugely to run your festival smoothly and will be a vital support if you encounter problems.","PeriodicalId":424886,"journal":{"name":"Principles of Festival Management","volume":"151 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116098782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4076
P. Kelly, C. Newbold, J. Jordan, Kristy Diaz
Every organisation needs money to get going, and this includes non-profit ventures. The reasons why they need it may vary, as may the sources. To get a venture off the ground it generally needs ‘start-up funding’, whether it be borrowing £50 off your auntie to pay for the costs of printing some flyers, or maybe setting up a limited company, or borrowing £250,000 from a bank or financial institution to open several shops and an office. Whichever it is, you will have costs. So, unless you have a large sum of cash lying idle, you will need to find a way of raising money to get things started. Another reason for needing cash is if you know your venture, be it a new festival or a community arts venture, will not generate enough box office or other earned income to cover its costs, meaning you will be making a loss from the outset. In this case, if your project meets a well-articulated social need you will be able to make a case for start-up funding and money to cover its running costs. How you make the funding approach very much depends on your festival’s ethos and its legal structure. We covered the first of these in Chapter 2 and the legal issues are covered in more detail in Chapter 6. This chapter will give you the framework that ties together your festival objectives, its legal structure and the potential funding sources as well as some of the techniques you will need for raising that all-important cash. This chapter focuses mainly on fund-raising for not-for-profit or social enterprise festivals. The principles of persuading donors or bodies like an Arts Council are not that different from those of persuading commercial investors, other than that the return you would promise commercial investors would be financial rather than social or artistic objectives. The chapter starts by looking at those differences.
{"title":"Funding Your Festival","authors":"P. Kelly, C. Newbold, J. Jordan, Kristy Diaz","doi":"10.23912/978-1-911396-82-6-4076","DOIUrl":"https://doi.org/10.23912/978-1-911396-82-6-4076","url":null,"abstract":"Every organisation needs money to get going, and this includes non-profit ventures. The reasons why they need it may vary, as may the sources. To get a venture off the ground it generally needs ‘start-up funding’, whether it be borrowing £50 off your auntie to pay for the costs of printing some flyers, or maybe setting up a limited company, or borrowing £250,000 from a bank or financial institution to open several shops and an office. Whichever it is, you will have costs. So, unless you have a large sum of cash lying idle, you will need to find a way of raising money to get things started. Another reason for needing cash is if you know your venture, be it a new festival or a community arts venture, will not generate enough box office or other earned income to cover its costs, meaning you will be making a loss from the outset. In this case, if your project meets a well-articulated social need you will be able to make a case for start-up funding and money to cover its running costs. How you make the funding approach very much depends on your festival’s ethos and its legal structure. We covered the first of these in Chapter 2 and the legal issues are covered in more detail in Chapter 6. This chapter will give you the framework that ties together your festival objectives, its legal structure and the potential funding sources as well as some of the techniques you will need for raising that all-important cash. This chapter focuses mainly on fund-raising for not-for-profit or social enterprise festivals. The principles of persuading donors or bodies like an Arts Council are not that different from those of persuading commercial investors, other than that the return you would promise commercial investors would be financial rather than social or artistic objectives. The chapter starts by looking at those differences.","PeriodicalId":424886,"journal":{"name":"Principles of Festival Management","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122397769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.23912/978-1-911396-82-6-4067
P. Kelly, C. Newbold, J. Jordan, Kristy Diaz
After reading this part you should: The director of a company specialising in festival support services had just come back from a contract at London’s Hyde Park, a big outdoor event, headlined by The Eurythmics, a fashionable band at the time. “What were they like?” an excited music enthusiast asked him. “I’ve no idea,” came the droll reply, “I spent the whole evening unblocking the toilets” (Toby Short of Rock City Stage Crew, 1999). To some, festival budgeting is a bit like that, it’s a task that seems dull boring and repetitive, but it’s also incredibly important. Doing endless budget projections – and they will keep changing – keeping a track of estimates and invoices, managing your cashflow and then counting the pennies at the end of the event is hardly glamorous. But if the finances get all blocked up or don’t flow in the right way, the smell will be pretty unpleasant and, in extreme cases you might even have to sell all your worldly possessions to sort out the mess.. Good budgeting is crucial to the long-term success of your festival and also your peace of mind. It’s not difficult, so long as you are careful and methodical. As your event grows, the financial numbers will obviously get bigger and some of the control issues get more complicated. But the principles remain the same. A growing festival will need to get the advice of an accountant, especially where tax matters are concerned.
在读完这部分之后，你应该知道:一家专门从事节日支持服务的公司的主管刚刚从伦敦海德公园(Hyde Park)的一项大型户外活动合同中回来，该活动的主角是当时很流行的乐队The Eurythmics。“他们是什么样子的?”一位兴奋的音乐爱好者问他。“我不知道，”他滑稽地回答道，“我花了整个晚上去清理厕所”(Toby Short of Rock City Stage Crew, 1999)。对一些人来说，节日预算有点像这样，这是一项看似枯燥乏味和重复的任务，但它也非常重要。没完没了地做预算预测——而且预算还会不断变化——记录预算和发票，管理你的现金流，然后在活动结束时精打细算，这些都算不上有魅力。但是，如果财务状况不佳，那气味就会很难闻，在极端情况下，你甚至可能不得不卖掉所有的家当来解决这个问题。良好的预算对你的节日的长期成功和内心的平静至关重要。只要你细心，有条不紊，就不难。随着活动的发展，财务数字显然会越来越大，一些控制问题也会变得更加复杂。但原则是一样的。一个日益壮大的节日需要得到会计的建议，尤其是涉及到税务问题的时候。
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