Michigan State University Extension
Tourism Educational Materials - 33530075
06/06/02
Managing Festivals & Tourism Events
List of files and visuals associated with this text.
Phil Alexander
Cooperative Extension Service
Michigan State University
Extension Bulletin E-2303
April 1991
Introduction
Festivals and special events are important components of
Michigan's tourism industry. They not only offer
communities an opportunity to celebrate whatever they
wish, they also provide attractions for visitors from
nearby towns and states.
It is difficult to determine the exact number of
festivals and special events taking place each year, but
it is easy to see that festivals are becoming more
popular as more and more communities organize all kinds
of special events throughout the year. Some communities
host numerous celebrations.
This booklet is designed to assist both the planners of a
new event and established festival organizers looking for
new ideas. It's also for volunteers who need to see how
they fit into the overall picture. While it cannot cover
everything, this booklet does address topics common to
most festivals. Though not intended to be the ultimate
authority and end-all reference book, it does raise many
questions for the reader to ponder. Mostly, however, it
is a reminder that successful festivals don't just
happen. They are the products of careful planning,
attention to details, and a good deal of hard work.
It is essential to note that this Extension bulletin is a
compilation of numerous publications listed in the
bibliography as well as comments provided by the
individuals listed in the Acknowledgments section.
"Managing Festivals and Tourism Events" is based on and
adapted from "Building A Festival: A Framework for
Organizers" published by the Arkansas Department of Parks
and Tourism.
Acknowledgments
"No one of us is as smart as all of us" and "Why reinvent
the wheel" are the two thoughts that guided me through
the production of this bulletin. Here is the list of
people who "wrote" this festival booklet.
Larry Allen, Clemson University Recreation, Travel and
Tourism Institute
Canadian Government Office of Tourism
Paula Graves, Arkansas Department of Parks and Tourism
Ernie Grocock, Gaylord Alpenfest
Harry Hamilton, Kalamazoo County Convention and Visitors
Bureau
Mary Johnson, Tawas Perchville
Glenn M. Kreag, University of Minnesota Sea Grant
Extension
Gail McBride, Mackinaw Area Tourist Bureau
Bill Muligan, The Practical Historian
Eldor Quandt, Western Michigan University
Sheri Rich, Shepherd Maple Syrup Festival
South Carolina Department of Parks, Recreation and
Tourism
University of Illinois at Urbana-Champaign
University of Minnesota Extension Service and Tourism
Center
Larry Ward, Ward Sound & Lighting
Review Committee
Sue Bila, Michigan Association of Fairs & Exhibitions
Steve Brandt, Shepherd Maple Syrup Festival
Sandra Clark, Michigan Travel Bureau
Phyllis Ford, MSU Department of Parks and Recreation
Don Holecek, Michigan Travel Tourism Recreation Resource
Center, MSU
Ron Leslie, East Tawas City Park Manager
Carrie Schlobohm, Frankenmuth Bavarian Festival
Tracy Weber, East Michigan Tourist Association
and the 28 people who attended the editing workshop at
the Managing Festivals and Special Events conference on
April 26, 1990 in Gaylord, Michigan.
I. Planning
Failing To Plan Is Planning To Fail
Why A Festival?
Festivals and special events are staged for many reasons.
Besides being informative and enjoyable, they provide a
number of important benefits to the community. Here are a
few popular reasons to consider when planning or
justifying a festival:
1. Festivals encourage a sense of community pride and
cohesiveness. It's not often that everyone in town gets
invited to the same party. Festivals provide a rare
occasion for the whole community to relax and have fun.
2. Festivals may have certain educational values. For
instance, important historical events can be taken out of
the classroom and brought to life through skits, costume
contests, reenactments, and other commemorative events.
3. Festivals are ideal occasions for artists and crafts
people to demonstrate and exhibit their skills.
4. Festivals provide a showcase for new ideas in music,
art, drama, and sports.
5. Festivals focus on the broad spectrum of the state's
culture.
6. Festivals stimulate travel to a community and the
surrounding region. This encourages the community to grow
and prosper by attracting dollars in the form of tourism,
and in some cases, new industry.
7. Festivals can also be used to celebrate a holiday,
season, or an historical event; or
8. To raise money.
The key to the success of a festival is that goals and
objectives must be identified and defined. An undefined
or vague purpose is a near guarantee of festival failure.
"To celebrate the town and its people" is most often
quoted as the purpose of an unsuccessful event. While
this is permissible as an umbrella goal, festival
organizers need to clarify more specifically the
measurable objective(s) of the event.
Tip: When things get tough, nothing keeps you going
better than a strong sense of purpose.
Writing Objectives
An important step in planning a successful festival or
community-wide event is to write objectives or goals for
the project. The list of objectives should basically
outline what is going to be done, who is going to do it,
who will benefit, and what specific results are desired.
Having a written list of objectives will help planners
keep within the boundaries of their goals and will help
recruit individuals and groups who identify with the
planners' specific aims. The list of objectives also is
an important evaluation tool---a yardstick by which to
measure the event's success. Objectives provide a focus
for the entire planning process and should be determined
before moving ahead with the project.
If you have multiple goals, list them in order of
importance so your perspective will not be lost. By
setting priorities you increase your chances of
accomplishing the most important goals. If you don't set
priorities, you can spread yourself too thin in an effort
to reach every objective, and odds are you will wind up
meeting none of them.
Your strategy needs to address long term goals and
immediate plans---both at the same time. Do not put these
off until the last minute.
Planning includes a realistic budget. Even though this
will be a task for the finance committee, each committee
needs to submit their individual budget.
Choosing A Theme And Name
It's not good enough to hold a plain generic festival
anymore. The event must have a theme---a main idea or
concept to provide a solid base for a variety of
interesting and promotable activities. Develop a theme
that gives your festival a unique identity and prevents
it from being a carbon copy of other festivals. The theme
should be indigenous to the community's personality,
legends, natural beauty, or other attraction.
* The theme gives the event an overall focus.
* The themes give the participating groups a common point
from which they can develop a cohesive program of
activities.
* The theme gives the event structure.
* A catchy theme makes publicity much easier.
Whatever the theme, it must be something to which the
local community can relate and that is either unique or
has enough interest to attract visitors. Because
festivals seldom are instant successes in drawing
tourists from outside the region, planners need to ensure
that the theme and activities of the event will attract
local residents as well.
Festival themes can be categorized into several general
types:
* local history
* ethnic or cultural
* agriculture
* aquaculture
* holidays or seasonal events
* arts, crafts, and hobbies
* music and drama
* industry
* natural resources
For more information regarding theme development, refer
to Extension Bulletin E-1957, "Creating A Promotional
Theme."
A festival's name should be one of its best selling
points. It needs to be catch, memorable, and tied in with
the festival's theme. The name also needs to be short,
but that may not always be the case.
There's something to be said for choosing an unusual or
even bizarre name; people certainly seem to notice it.
The "Irons Ox Market and Flea Roast" resulted when the
words "market" and "roast" were transposed. No doubt this
festival owes a good deal of its success to a rather
uncommon title.
One last thing to remember about names: try to pick one
that can be used year after year. It's one way of helping
the festival become a local tradition and establish good
public relations over time. Also, by sticking with the
same name, many of the festival's signs, banners, and
other promotional material can be used again. Do not
overlook these money-saving strategies.
Tip: Don't hesitate to contact other established festival
organizations who have already worked their way through
the rules and regulations and know how to avoid the
detours and pitfalls. Usually they are more than willing
to share their expertise and contacts.
Date And Time
Timing is another important element to consider when
planning a festival. What time of year should the event
be held to best meet the objectives and purposes for
which it was organized? On what dates will the event
least conflict with other local programs or those of
nearby communities? What other local/nearby programs
could be incorporated into (rather than in conflict with)
a new festival? Three nearby community festivals may be
more attractive to tourists than one. How long should the
event last---several hours, one day, several days or
more?
Choose your date well in advance! Any successful event
should be planned at least a year in advance, if
possible. Lists of festivals and special events are
available from the Michigan Travel Bureau, Michigan
Association of Fairs and Exhibitions, and the regional
tourist associations. The sooner you choose your date,
the sooner you can start spreading the word about your
event.
The weather is a key factor and one which you cannot
control. However, by playing the averages, festival
organizers can pick a time with a reasonably good chance
of acceptable weather. Look over the weather trends and
plan accordingly.
From the beginning, set an alternate "rain date" or
alternate indoor site in the event that bad weather
forces a change. Likewise, a lack of snow for winter
festivals also requires a contingency plan.
The purpose, theme, name and date are crucial items for
any festival, but the committee's work is just getting
started once these matters are settled. The budget must
be drafted, entertainment planned, and publicity
coordinated. The same goes for security, food and
beverage sales, and sanitation facilities. These topics
and others are discussed in the following pages.
Remember the 5 Ps of Planning: Proper Planning Prevents
Poor Performance.
First decide what you want to accomplish, then organize.
II. Organizing
There's no such thing as a festival that's too organized.
Getting the right ingredients together to put on a
successful festival is no easy task. It takes
preparation---months and months of careful planning and
organizing.
Whether you call it a steering committee or board of
directors, this group's primary function to set ground
rules and choose officers and committee chairpersons
capable of completing the project. The board is
responsible for, among other things, drafting workable
by-laws and periodically reviewing and updating them if
necessary.
Once you have established your general guidelines and
focus, start planning specifics. It may help to draw an
organizational chart to show the chain of command and to
visualize the various departments making up the festival.
(Vis. 1)
System Of Succession
A problem with most festivals is passing on the lessons
and experiences from one year to the next. One solution
is having the project vice-chairperson assist the
chairperson one year, then move up to chairperson the
following year. It's a great method for making each
festival better than its predecessor. Change is good for
everyone and refreshing for the spirit of the festival.
A Look At Boards
By: William Mulligan, Jr.
"The Practical Historian" Vol. 2 #2 & 3
Here are some frequently asked questions about boards.
Who should be on them? How should they be selected? How
long should individuals serve? How do you referee
disagreements?
Before any questions can be answered, you need to
consider the type of organization you have. Boards should
operative differently when there is a full-time
professional staff carrying out the work of the
organization than they should when all the work is done
by volunteers. If your organization falls somewhere in
between---a few paid staff, but many or even in between--
-a few paid staff, but many or even mostly, volunteers---
you'll want a board somewhere in between. There is not
one type of board that is ideal for all organizations.
Let's start with the most common situation---the
volunteer organization. If anyone is paid it is a token
sum and the work of the organization is carried out by
volunteers. In this situation, you want what is best
described as a working board. The board should be made up
of the more active and involved members---the heads of
the committees, for example. Who knows more what needs to
be done than the people who face the challenge every day?
Also, having separate groups of bosses who sit on the
board make policy and volunteers who do the work nearly
always causes trouble and in fairly short order a
shortage of volunteers. In a volunteer organization, even
one board member who doesn't back what he or she says
with time put in can cause trouble. If you count on
volunteers to do the work, count on volunteers to make
the policies and run the organization.
Once you decide that active members should be on the
board, many other questions are easily answered. Board
members should be elected by the full membership to serve
a fixed term. Terms of the board members should be
staggered so that at least some carry over to the new
year for continuity. One successful method is to have
three year terms with one-third of the terms ending each
year. How long should people serve is always a tough
question. In theory there should be a limit to the number
of consecutive terms anyone should serve. In practice it
can be difficult to fill seats on the board of a small
organization. What happens is that over time people
become "indispensable." Then, when they want to pass on
the reins, there is no one willing to try to fill such
large shoes. Or, worse, they come to see themselves as
"indispensable" and the organization declines as they
lose energy.
The way out of this is to not let anyone become
indispensable, either in the minds of the members or in
their own. Limit everyone to two consecutive terms, no
exceptions. After a year, people can stand for election
for another cycle of two terms, etc. During that year
off, new leaders will be able to try their wings.
There are a few exceptions to these general points. If
possible, find a lawyer willing to serve on your board.
There are many small matters that a lawyer can quickly
evaluate during a meeting and save the group endless and
needless worry. Try not to take advantage of them if a
major problem develops, but this is one situation when
you can have someone on the board who may not otherwise
be active in the group and gain far more than you will
risk. If there are several lawyers in your community,
rotate the position informally much as you would other
seats.
You might consider other professionals---insurance
agents, accountants, etc.---who can bring useful
expertise to the board. However, never let these
professionals make up a majority of the board or serve as
president. Make sure the president is one of the more
active volunteers---remember, the best leaders lead by
example.
Conflict on boards can be a real source of trouble. The
problem is less with the fact of conflict than with most
people's desire to avoid it. One or two people can often
get their way on a board, even quite a large board, just
by being difficult. No one wants to make trouble or cause
a scene, so they get their way, even though they may be a
small minority.
This type of person can cause real trouble for an
organization. First, if decisions are made to keep the
peace rather than for the good of the organization, small
problems will accumulate and grow into major problems.
Second, people will stop coming to board meetings because
there is no real discussion. Why should they give up an
evening at home with their family? Third, eventually you
will begin to lose your volunteers. The more active and
involved they are the sooner you will lose them. Though
an extreme case, if there's no real discussion people
feel no commitment to implement the decisions. They
simply find other things to do that give them more of a
sense of involvement. In the end, the organization
declines and finally becomes either a small clique around
one dominant person or it disappears for lack of
interest.
Many people feel that the best way to deal with this
problem is to wait for the person's term to expire and
then not reelect that person. Or, if he/she is reelected
(they almost always do), limit the number of terms a
person can serve and then never reelect that person. This
sounds good, but it never works for the same reason these
people are able to dominate and control a meeting---no
one wants to say "I won't nominate you." No one wants to
say anything negative or be accused of playing politics
because it will divide the group.
People have to accept the fact that there is nothing
wrong with disagreement or with debating options and then
deciding among the options available. To disagree is not
to misunderstand, it is simply to see another way of
doing what needs to be done---or even seeing something
entirely different that might be done. The solution is to
stand up for alternative views and resist the domination
of the bullies, because that's often what they are. If no
one stands up, they will slowly, but surely, destroy any
organization.
To repeat, a volunteer organization should have a board
made up of the most active volunteers, elected by the
membership for fixed terms, serving for a limited number
of consecutive terms.
What about an organization with paid staff? Well, it is a
very different situation. There is a separation between
the day-to-day work of the organization and the
responsibility of the board. This is very important to
maintain. Board interference in day-to-day operations can
create an array of problems almost too numerous to
catalog here. If there is a paid staff, the board must
let them do their jobs. If they aren't doing their job,
the board should communicate its concern to the director
only and the director should deal with the situation. If
he doesn't, it's easy---get a new director. If the board
involves itself in the day-to-day operations, no one will
be sure who is in charge, morale will decline sharply,
and the organization will lack direction (and soon need a
new director anyway).
In organizations with a paid staff, the board should
limit itself to three things: selecting the director,
establishing policies, and providing the resources
necessary for the organization to function properly.
(Reprinted with permission)
But that's not all. Some of the board members (and the
more the better) must have strong connections within the
community. These are people who can go out and quickly
round up all kinds of donations---lumber, sign space,
printing, advertising copy, food and drinks for
volunteers, staging supplies, sound equipment, and many
other necessities for a first-rate event.
To be sure and represent all facets in the community, a
reasonable balance can be maintained if the board
membership includes the following:
* large corporations
* privately owned businesses
* professional groups
* ethnic groups
* service clubs
* schools
* churches
* local government
* any other group having a separate identity in the
community that can provide moral and financial support.
This list looks more cumbersome than it is: remember, a
single board member might represent two or more of the
categories listed. Also, use this list when selecting
committee members so that groups with little or no
representation on the board will have the opportunity to
participate in festival activities and functions.
Communication is important to the overall success of an
event. Keep board members informed about what various
committees are doing and make sure they have a voice in
overall planning. Likewise, keep committee members and
other volunteers informed of board decisions, changes,
progress reports, and meeting dates and times.
For more information on this topic, refer to Extension
Bulletin E-2145 "Building Stronger Community Groups:
Pitfalls, Principles and Characteristics." Your local
Extension Office also has a variety of training materials
dealing with leadership development, parliamentary
procedure, and team building.
Brainstorming
Brainstorming is a good exercise for a festival committee
or any other group trying to get things done. The word
refers to an idea generation technique where any and all
possible suggestions are flushed out and the wilder the
better. Participants meet in a face-to-face setting and
offer solutions for an identified need (e.g. getting good
publicity for an event). Everyone is urged to be creative
and to expand upon the ideas of others. All of these
thoughts are promptly recorded and displayed on flip
charts during the brainstorming session, thus encouraging
even more ideas. Later, each suggestion is evaluated.
Some---maybe most---will be discarded, but a surprising
number will offer fresh insights for solving problems.
Committees And Volunteers
Just a festival cannot be put together in a few weeks, it
cannot be produced by two or three people. Special events
must be planned not only for the whole community, but
also by the whole community. For this reason, festival
planners should strive to interest and involve a large
number and variety of people to utilize their time and
talents.
The one ingredient that experienced organizers find most
essential to the success of a festival or special event
is community involvement. All other matters discussed in
this handbook---planning, objective setting, fund
raising, publicity, evaluation---are important, but
involving the community is often the secret weapon that
spells the difference between success and not quite
making it.
Try to get local government (city, township, county)
involved as much as possible.
You can recruit workers in many ways---personal phone
calls, talks to various local clubs, discussions with
elected officials, or appeals at public meetings. A
festival or special event becomes a civic celebration
when a whole cross-section of the community is deeply and
personally involved in its planning and execution. When
recruiting volunteers, be sure to address the question
"What's in it for me?"
Provide some kind of job description for committees so
they will know what you expect. Recruit volunteers who
share the festival's goals, have a genuine interest in
the event, are dedicated and committed to get things
done, have a healthy respect for deadlines, and the time
to spend on their assignments.
Also consider recruiting college and university students
who are studying for careers in tourism, public
relations, art, or journalism and are looking for hands
on experience. They can provide extra help and
inspiration.
Don't overlook the importance of involving the youth in
your community. As tomorrow's leaders, their interest and
commitment may decide the future of the festival. One
festival schedules various athletic teams---dressed in
their uniforms---to work an entire shift. Not only does
this get students involved, it shows the public they are
willing to contribute to their community's festival. The
students have fun, too!
Combating Critics:
Special events, especially downtown festivals, often draw
criticism from local businesses because streets are
sometimes blocked and festival-goers seldom buy anything
except the arts, crafts, and foods offered at the
festival. A festival can be a promotional tool for future
local business. Stores can advertise sales, then hand out
festival "rain checks" for the same sale prices good for
two weeks following the festival date. This is a good
technique for bringing regional residents back into a
downtown which may be suffering from shopping mall
competition. The festival brings them in for fun and
exposes them to the possibilities of downtown; the sales
bring them back as shoppers, thus confirming those
possibilities.
---Recreation, Travel & Tourism Institute
Clemson University
(Reprinting with permission)
III. Fund Raising & The Finance Committee
"If you think breaking even is all right, you are doomed
for failure."
The themes for Michigan's festivals cover a wide range,
but most of these special events have an underlying
purpose: to make money. While this commercial aspect may
bother some purists, there's no getting around the fact
that festivals are excellent fund-raisers. All kinds of
good causes can be helped. In addition, some of the money
generated can be set aside towards next year's event.
For many groups, the question is simply: What's the best
way to raise money? There is no quick answer. What might
help is to look at some of the fundraising techniques used
by other festival promoters.
1. Selling Booth Space: This is one of the most popular
(and effective) fund-raising ideas, particularly with
arts and crafts shows. No two groups seem to do
everything the same, however. Many just sell a designated
space and let the exhibitor provide everything else---
display tables, backdrops, and chairs. Some groups supply
these things and still others include electricity or even
a tent over the booth. These different factors (along
with projected attendance) influence booth fees as does
the size and location of the spaces. In short, booth fees
vary greatly from festival to festival.
Most groups collect these fees well in advance, usually
at the time an exhibitor applies for space. They've also
found that a strict refund policy is a good idea. It's
one way to insure that exhibitors reconsider before
canceling at the last minute.
2. Percent of Sales: Several organizations don't stop
with making money from rental space; their contracts with
exhibitors stipulate that a certain percentage of sales--
-frequently 10 to 20%---be returned to the festival
organization. If the "cut" is kept reasonable and crowds
show up, exhibitors don't seem to mind sharing their
proceeds.
This approach is not without its problems. Bookkeeping
headaches can be expected, along with occasional doubts
about the accuracy of sales reports. Its success for
raising money though, is beyond question.
3. In-Kind Donations: Encourage in-kind donations of
materials, supplies, and services instead of money.
Assess each in-kind contribution and keep a record of
what the cost would have been if you had paid for it out
of pocket.
4. Food and Beverage Sales: People at gatherings consume
vast quantities of popcorn, hot dogs, cotton candy, and
drinks. Most festival organizers do not need to be
reminded of this. Their job is to figure out how to make
the most of this demand.
Promoters can handle the food/beverage matter in two
ways: a) selling the refreshments themselves; or b)
allowing someone else to sell food and drinks on a
concession basis. Many groups lean toward the former, but
unless they have the necessary equipment and a good crew
of tireless volunteers, they may be better off to work
with an experienced concessionaire.
Organizers must know that the food and beverage business
is closely regulated by the Michigan Department of
Health. Selling hot dos, for instance, involves much more
than placing a hot frankfurter in a steamed bun.
Requirements governing the floor, walls, doors, ceiling,
and windows of concession stands exist and must be
followed (for details, see the chapter on food and
beverages).
5. Souvenir Sales: Festival goers are frequently on the
lookout for souvenir items. A lot of people have an
apparent need to remind themselves (and friends) of their
participation in certain festivities, so they purchase
ball caps, T-shirts, plastic cups, souvenir programs, and
other mementos. To take advantage of this element of
human nature, festival organizers need to keep several
things in mind:
The Target Audience: A key thing to remember is that
different groups have different tastes. What may sell
exceedingly well at a typical "funfest" may not move at
all during an arts and crafts fair.
Ordering the Souvenirs: Unless a silk screen machine is
in their possession, most groups have to order their
commemorative souvenirs. Many of the firs handling this
sort of merchandise can be found under "advertising
specialties" in the yellow pages of a larger city's
telephone directory. While these companies can supply a
wide range of items, they are governed by certain
practices: 1) Minimum orders are a necessary part of
business; 2) Camera-ready art is strongly recommended. If
the specialty firm has to prepare the art work, costs go
up and so do the time requirements: and 3) Production
takes time. Depending on the item ordered, delivery may
take from 10 days to six weeks.
Paying for the Merchandise: Even though the group may be
able to sell dozens and dozens of shirts at a 100%
markup, paying for them can be a problem. Here's why: for
the organization that is a first-time customer, the
wholesaler will very likely require that 50% of the costs
be paid at the tie of the order, with the remainder due
within 10 days of delivery. Established customers may be
able to work out better deals.
6. Races: Many groups are cashing in on the
jogging/running craze by sponsoring 5 or 10K races. For a
modest entry fee ($5 to $10), runners participate in
these events and in return, expect two things: a well-
organized race and a commemorative T-shirt or hat.
7. Admission Fee: This method can work provided two
requirements are met: a) the grounds are somehow enclosed
so that admission can be effectively controlled; and b)
the festival's attractions are clearly worth the price of
admission. If these conditions can't be met, it's
probably unwise to consider an admission charge. Most
Michigan festivals don't bother with entrance fees.
8. Parking Charges: The same rules apply here that govern
admission charges. Again, few promoters find this method
worth their time.
In summary, festivals are good places to raise money but
don't let any of the events be overcome by commercialism.
Lotteries, Raffles And Bingo:
Rather than take up several pages in this booklet to list
the many rules relating to various gambling events,
contact the appropriate state agency listed at the end of
this publication. You may need more than one license or
permit, so be sure to check into this matter very
thoroughly. Two points to keep in mind. When in doubt,
ask! Secondly, it may take six months to a year to get
final approval so plan in advance.
Corporate Sponsorship
by: Eileen Frye, Heart of Illinois Fair
(Reprinted with permission by Ward Sound and Lighting)
First---present a confident and positive attitude when
giving your proposal. Do not be apologetic about the
festival or "sell it short!" You have a very marketable
commodity that you are offering to the potential sponsor.
You are not soliciting or begging for help---you are
prepared to offer a company an opportunity to showcase
their product to thousands of festival goers during a
short period of time in a productive manner.
It is important to have a fact sheet or brochure to
present to your prospective sponsor:
* How many years has the festival been in operation?
* What is your attendance during the period?
* What attractions do you offer at the festival?
* What will the sponsor receive for their dollar?
* Do you offer gate admission tickets to the sponsor to
be used in promotion?
* Do you have an advertising program that will include
the sponsor?
* How about space for a display of the sponsor's product?
* Do you have a variety of events to offer?
* Are they priced realistically?
* Is the sponsorship package that you are presenting
compatible to that company?
* Can you be flexible?
* A company could be interested in a facet of the
festival that you had not considered.
We have found that the best approach in securing
sponsorships is to start at the local level and begin
your campaign early. Advertising budgets are prepared
before the start of the calendar year. In order to
participate in their budget you need your facts and
figures listed for presentation before that budget has
been allocated. It is a selling market and does require
effort on your part.
When you have secured a sponsorship package, you should
then prepare a contract to be signed by both parties.
This can be a simple document but must clearly emphasize
the basis of your agreement. It is also important to
state when payment is to be made by the sponsor. We
usually ask for one-half of the contract price
approximately 3 to 4 months in advance, with final
payment to be made two weeks before the start of the
festival. It is also helpful to mail a statement to the
company a week or so before the last payment is due. This
serves as a reminder and eliminates misunderstandings.
It is very important to fulfill all that you have
proposed to do. Never---but never---fail to provide every
facet of your agreement. It may seem insignificant to you
but the sponsor has a right to expect everything that had
been discussed in your initial approach. We make certain
that the sponsor is happy with his or her commitment. It
is important that sponsors feel that you have a strong
sense of concern for the project and are anxious to see
that they are satisfied and happy to be a part of the
event.
When the festival has ended---and it was a tremendous
success, be certain that a letter of thank you is sent to
each sponsor specifically commenting on their area of
involvement. As for their comments and criticisms. We can
all learn by listening!
I believe that you will find after the first year of a
sponsorship program it becomes much easier to make your
program a success. Satisfied companies are your best
source of public relations and information for other
companies. Everyone wants to be involved in a successful
venture and each sponsor---whether soft drink or other
entity---wants to participate in the action where their
peer groups are already established.
A sponsorship program benefits everyone: the festival,
the sponsor, and the community.
(Reprinted with permission)
IV. Promoting
If they don't know, they won't come.
Organizers of even the most successful events cannot
afford to sit back and hope that crowds will continue to
show up year after year. The results of inaction could
result in no crowd at all. To avoid this disaster,
appoint a Publicity/Promotion committee and make certain
that its members develop an effective promotional
strategy early in the planning process.
Extension Bulletin E-1939 "Developing A Promotional
Strategy" defines promotion as the activities people use
to communicate with others about their product or service
and to convince them to use it. Everything you do
communicates something about your festival.
Remember, you are not selling a product, you are selling
the benefits of the product. The benefit you are selling
is entertainment! A festival is essentially show
business. Consider these benefits as part of the
entertainment package when creating the image for your
festival:
* Excitement, fun, happiness
* Relaxation
* Social interaction
* Prestige, ego satisfaction
* Education
Members of the publicity committee need to be aware of
the following concerns: 1) Much of what is promoted---
entertainment, for example---will be arranged by other
committees. Therefore the publicity people must have a
good working relationship with everybody helping with the
festival; 2) With so much to do, timing will be critical
in many instances. Establish a time line; 3) Be sure
local and regional people whom the media are likely to
contact for what is going on know exact times, dates and
your media contact's name and telephone number; 4) Supply
the local tourism sector (motels, service stations,
restaurants) with printed maps and schedules so they know
times and directions to events and can pass that
information on to their customers and guests; 5) Media
representatives are serious about deadlines. Make certain
that press releases and other informational materials are
in the hands of reporters on time; and 6) Don't be shy
about calling in to or volunteering for local talk shows;
7) This committee should evaluate the effectiveness of
methods and ideas used and suggest changes as required.
Tip: A good way to stretch your advertising dollars is to
get businesses or organizations to co-sponsor your ads.
For example, a company might incorporate your message in
some of their billboard advertising or co-sponsor radio
or TV ads.
Here are some examples of promotional methods used by
festival organizers. Most of this promotion can be done
at little or no cost. What's required are two things that
money can't always buy---creativity and imagination.
* Billboards
* Marquees
* Posters and Banners
* Placemats in Local Restaurants
* Brochures/Direct Mail
* Public Service Announcements---Radio, Television,
Newspapers
* Print Media - Newspapers, magazines
* Electronic Media - Radio, Television, Local Cable TV
Station
* Calendar of Events
* Inserts - Bank & Utilities Billings
* Parades at Other Festivals
* Chamber of Commerce Publications
* Bus Signs
* Speaker's Bureau - Presentations to Groups/Meetings
* Michigan Travel Bureau - Seasonal Guides/Calendars of
Events
* Displays at MDOT Welcome Centers
* Employee Publications/Newsletters
* Individual Promotional Items/Novelties
* Bumper Stickers, Buttons, Mugs, etc.
* Travel Writers
* FAM (Familiarization) Tours
* Logo Design
Brochure Design Tips
If your marketing strategy determines that brochures are
an effective way to reach your target audience, then
carefully design the best brochure possible. First answer
these three questions: 1. What do you want the brochures
to do? (Set your purposes and objectives.) 2. Who is your
audience? 3. How will you reach your audience? (Decide on
a distribution system.)
Points to Consider in Designing a Brochure
* Keep it simple and uncluttered
* Have more open space than type.
* Be different, if possible.
* Full color is best but most expensive.
* Build an image through pictures and factual
information.
* Remember your target audience.
* Stick to one selling message.
* The quality of your brochure reflects the quality of
your festival.
If using a brochure, always include a map with directions
to your community and the location of events once the
visitor arrives. Also, include how to get more
information; a telephone number and the mailing address.
For more information on developing a brochure, refer to
Extension Bulletins E-1605 "Creating A Travel Brochure
That Sells" and E-1931 "Developing Brochures."
Tips For Preparing A Media Release
* Only one person from your organization should be in
contact with the news media. This avoids conflicting
reports and confusion. Your media contact person must be
someone who is easily reached by telephone during working
hours.
* The most important rule of journalism is accuracy.
Write everything down and double check dates, times,
names, and places.
* Be brief and to the point. Stick to facts. Avoid fancy
adjectives and unfamiliar terms. Use active verbs and
avoid changing verbs into nouns.
* Make sure there is some tie-in between the information
in the release and the readers, listeners or viewers.
Make it of interest and important to them.
*Type media releases, double-spaced on 8 1/2" x 11" white
paper. Include the contact person's name, address, and
telephone number. Also, include the current date and date
of release or For Immediate Release. If your story takes
more than one page, write "More" at the bottom of the
page. Number the following pages. Indicate the end of the
story with "###."
Get your story to the media as soon as possible. Know
their deadlines and, whenever possible, let the media
know about your event in advance.
Write news releases in inverted pyramid style. Indicate
the most important news at the top, the lesser in the
middle, and the insignificant at the bottom. This format
allows the news editor to chop the release almost at any
point and still retain the essential information.
Sample Media Release (Vis. 2)
(Print on your festival's stationery which includes
address)
National Fudge Festival Fun Run
123 West Main * Coacoaville, MI 44444 * 609-555-1313
June 15, 1990
For Immediate Release
Contact: Dan Smith
123 W. Main
Cocoaville, MI 44444
Phone: (609) 555-1313
National Fudge Festival
Cocoaville: Runners of all ages are invited to
participate in the Second Annual Fun Run on June 30. The
starting time is 11:30 a.m. at the city park. This event
is sponsored by the National Fudge Festival.
The race route is a combination of city streets, gravel
roads, and grass covered park paths. The route includes
moderate hills and crosses two bridge.
Medals will be awarded to the top three winners in each
of the six divisions for both men and women. There is a
$5 entry fee which entitles all entrants to receive a
specially designed Fudge Festival T-shirt and a one pound
box of fudge.
Registration forms are available at the city library,
Bob's Sport Shop, and the Chamber of Commerce information
booth.
For further information, contact Dan Smith, 123 W. Main
Street, Cocoaville, or call (609) 555-1313.
V. Operating
"Making Your Festival Festive!"
Entertainment
Festivals are supposed to be fun and for many people that
simply means one thing---entertainment. But entertainment
committees often find their jobs to be anything but
simply. Fortunately, there are several general principles
for keeping matters from getting out of hand.
1. Be sure to have some excellent workers on this
committee. People just wanting to pad their resumes
should look for other assignments.
2. Begin planning early for entertainment. Many
performers are booked in advance and are unavailable on
short notice.
3. Know your audience and plan accordingly. A clown is
probably more suitable for a group made up primarily of
children, just as a symphony concert would be more
appropriate for adult gatherings.
4. Put variety in the program. Nearly every community and
certainly every region, has enough talent to provide a
wide range of entertainment. Barbershop quartets, ballet
and modern dancers, martial arts groups, gospel singers,
and square dancers are some that come to mind quickly.
other performances---like hot air balloons and magic
shows---can be brought in from nearby locales.
5. Don't overlook sponsors. Many groups looking for
exposure perform without charge but others require a fee.
If the committee decides on a paid performance but does
not have the necessary funds, one answer might be to seek
a sponsor. In many Michigan towns, local businesses
frequently underwrite the costs of the featured
entertainment.
6. Let festival-goers participate in their own
entertainment. Get them involved in events like tug of
war, pet shows, kite flying contests, parent/child sack
races, tricycle riding derbies and countless others. The
closer the ties between the entertainment and the theme,
the better.
7. Be creative. People seem to be especially attracted to
unusual performances and often times the zanier the
better.
The items listed above are some of the more general
things to consider when developing an entertainment
program. There's more to it than that, though. Lots of
details must be nailed down, too:
1. Staging: Make sure that the entertainers know what
kind of accommodations to expect. Will they be performing
on a wooden stage, flatbed trailer, the lawn, or under a
tent?
2. Lighting: Evening performances may require artificial
lighting. Will entertainers bring their own systems or
will lights be provided?
3. Sound: Musical groups usually furnish their own sound
equipment but other entertainers may expect it to be
supplied. Remember, a system consists of more than
microphones, amplifiers, speakers, and the wires tying it
all together; a dependable operator/troubleshooter makes
the sound system complete.
4. Dressing Rooms: Some performers entertain in their
street clothes and others change into the appropriate
dress before reaching the festival grounds. Still others-
--especially some of the costumed characters---will
require dressing rooms.
5. Performance Contracts: As noted earlier, some
entertainers perform for free and others must be paid.
Always sign contracts with those in the latter category,
specifying what services will be performed and at what
cost. It's not a bad idea to sign a similar agreement
with the free entertainers so that the deal is spelled
out and fully documented.
6. Scheduling: Determine early on how much time will be
allotted to entertainment and how much is to be reserved
for each performance. Make certain that each act is fully
aware of the schedule and stick to it.
7. Emcees: Somebody needs to be designated emcee---or
master of ceremonies. Use someone who is comfortable in
front of large crowds. Local disk jockeys, television
personalities, or legislators may be able to help out. If
the entertainment program runs a full day, spread out the
work among several emcees. Above all, give them complete
information about the performers they'll be introducing
and ask them to review the material ahead of time.
8. Publicity: In many instances, entertainment is the
major draw for the festival. Work closely with the
publicity committee to ensure that promotional efforts
fully reflect the entertainment program that is on tap.
And finally, have some solid contingency plans. Build in
a bit of flexibility. Things seldom go exactly as
scheduled.
Parades
by: Sheri Rich, Parade Chairperson
Shepherd Maple Syrup Festival with additional comments
from Kalamazoo CVB and Ward Sound
A parade can be a colorful and exciting addition to a
festival and an event that attracts out-of-town people to
your community. The key to creating a parade that people
want to watch or participate in year after year is
organization.
With foresight, your parade can be a successful mix of
music, marching units, cars, festival queens and more,
carefully blended to please both the eye and ear. Without
organization the event could be a disappointing
combination of music groups spaced too closely,
unattractive entries, animals accidentally placed too
close to loud vehicles that could frighten them, and so
forth. Organization will reduce this sort of mistake.
What follows is a suggested method for organizing a
parade that can be altered to suit each festival's needs.
1. Select a parade chairperson and a small committee that
has the authority to make parade policy. A high level of
enthusiasm and the ability to carry out responsibilities
are extremely important for committee members.
2. Settle on a parade budget. Some possible costs include
flowers for V.I.P.'s, postage, photocopying costs, long
distance phone calls, and paying for a band or banners.
3. Select the parade time and route. Will your parade be
your festival's "kick-off" event or "grand finale?" As
you organize your parade, be sure to drive the route.
What will people see? Check out street width and
clearance for tall units. Will you need streets closed
and traffic control? Be sure to inform your local police
department of parade details.
4. Talk with your local police department about acquiring
a parade permit. Apply for your permit early.
5. Set an entry deadline. Leave enough time between the
deadline and parade day to create the lineup order and
then mail out lineup information to the participants.
Advertise the deadline in newspapers and on radio
stations' community calendars.
6. Decide on parade guidelines. For instance, some parade
officials do not allow "for sale" signs to be displayed
in car windows. Will your parade be for the locals or
will it be designed to attract people from other cities
and states? Will you allow units from outside your
community to participate? What is your policy on
allowing politicians and/or candidates for political
office? Will items such as candy, gum, pencils, etc. be
allowed to be thrown from a float? (Vis. 3)
The theme of your parade should determine what units to
include. Will it have floats? If so, determine what kind
of floats and how big. Will it have clowns, animals, or
children on bicycles? Remember, variety keeps the
spectators' interest.
7. Ask potential participants to complete an entry form
that includes their name or the organization's name,
contact person's name, complete mailing address and
telephone number. Also ask what the entry is. One way to
do this is to offer a list of possible entry types like
queen (car or float), antique car, float, marching unit,
horses (how many?), marching band, car, musical and
other. Also ask for a brief description of the entry.
Include the deadline on the entry form along with the
names and numbers of people to call if the entrants have
questions. It is a good idea to also include the parade
guidelines on this sheet. (Vis. 4)
8. Keep track of entries by recording each one on a 3 x 5
card so all entries can be organized alphabetically.
Include all the information that was on the entry form.
9. Set up the lineup. This is very important so take time
to do it right. One method is to cut pieces of business
card size paper. Write the name of each entry on a piece
of paper. Use a highlighter to mark the musical entries.
On a large table lay out all of the cards so you can
quickly look them over and begin lining up your mock
parade.
If you have a lot entries, don't feel overwhelmed. Pull
out all your highlighted music groups and divide the
parade into units with each one beginning with music. For
example, if you have three bands you would have three
units.
BandxxxxxBandxxxxxBandxxxxx
Now you can fill in with a nice blend of entries that
might look something like this (VFW color guard, police
cars and fire trucks have been added to the front of the
parade).
Unit One: (1) VFW (2) Police Cars (3) Fire Trucks (4)
Band (5) Queen (6) Mayor (7) Parade Marshall (8) Car
Unit Two: (9) Band (10) Scouts (11) Float (12) Queen (13)
Car
Unit Three: (14) Band (15) Car (16) Float (17) Horses
Ideally, there would be many more entries between the
bands. The above serves only as a model. Once organized,
each unit can be assigned a number which will make lineup
easier.
Some Tips:
* Start with a big opening, something spectacular, your
showiest band with police cars and sirens and banners
telling what parade it is.
* Don't place similar entries next to each other.
* Spread out musical entries evenly.
* Put marching groups that include small children close
to the front so they don't have so far to walk.
* Keep noisy entries away from animal entries.
* Put horses at the end and make sure there's someone to
follow directly behind them to clean up messes. Marching
units don't like to follow horses.
* Place fire trucks near the beginning so they can leave
quickly in an emergency.
* Look over the mock parade lineup and visualize the
parade. Does it "look" right?
* Design the parade route so that it circles back to the
starting point. This allows participants to return to
their awaiting vehicles, prevents participants who have
completed the route from flowing back through the parade
while still in progress, and allows you to establish one
central command post.
* Make the parade more special by providing boutonnieres
and corsages to the day's V.I.P.'s---the mayor and
his/her spouse and the parade marshal. A parade marshal
is usually selected by the community because of
outstanding community work or service.
* Contact Shriner groups; they often have very
entertaining parade units. They do accept donations.
* Invite other local festival queens to participate.
* If the parade is to last 50-60 minutes, it should have
60-70 entries including 5-7 musical groups.
10. Send out lineup information to entrants that includes
their lineup number and when and where to lineup.
11. On parade day, have extra people to help lineup the
parade. If possible, have the lineup crew wear
identifying clothing such as caps that say parade. Make
sure each crew member has a copy of the lineup order and
have them spread out on the lineup route to direct
entrants. Parade officials along the route with walkie-
talkies can help keep things moving smoothly and the
walkie-talkies come in handy in case of an emergency.
12. A video tape of the parade is a great way to analyze
areas that need improvement.
13. Ask for criticism after the parade and set new policy
for future years. With one parade under your belt, next
year's event will be even better.
14. After the parade, send thank-you notes to
participants and crew.
15. Remember, the more fun you have with the parade, the
more fun your spectators will have.
Choosing A Carnival
by: Donald Bark, Sandwich Fair
(Reprinted with permission by Ward Sound & Lighting)
Choosing the right carnival is one of the most important
things a concessions manager will do. The carnival is a
very visible aspect of your festival. People are
attracted to a bright, colorful, clean-looking, well-run
carnival. A carnival with a good safety record is a must.
When choosing a carnival, you should visit other
festivals and fairs and talk to their boards. Ask
questions about their carnival's safety record, the
success of the fair while this particular carnival has
been playing there, what kind of relationship exists
between the carnival owner and the board, how does the
carnival handle its personnel on the grounds, is the
carnival clean, equipment in good repair, are the rides
up-to-date? Carnival games, sometimes called hanky-panky
games (high pressure games designed to prevent a person
from winning), should not be a part of your carnival.
Spend time looking and watching the overall operation of
a carnival before booking them into your fair or
festival.
(Reprinted with permission)
Food And Beverages
Festival-goers are difficult to categorize. Some are
retired; others are still in their strollers. Some come
to watch people; others are much more interested in the
arts and crafts. But there's one thing that seems to hole
true for nearly everyone in the crowd: an inordinate
desire for food and beverages.
Like the other committees, the one handling food
arrangements needs to get to work promptly. An early
order of business is to become thoroughly familiar with
requirements issued by the Michigan Department of Health.
This festival booklet cannot possibly address all the
points covered by the manuals but it can quickly
summarize their point objective: to keep people free from
disease.
The food regulations don't end with what can and cannot
be served. They also cover such things as hand washing
facilities, wastewater disposal, and permissible
tableware. In addition, there are specific requirements
concerning the construction of concession stands. Floors
are to be of certain cleanable materials; walls and
ceilings must keep out bugs and the weather; doors must
be self-closing; and counter-service areas must be
designed "to restrict the entrance of flying insects."
There's even a minimum standard for screening materials:
at least 16 mesh to the inch. To make sure their food
service arrangements are in order, many festival
organizers involve the county sanitarian in their
planning from the onset.
Beverage sales also are governed by state regulations. In
addition to those of the Health Department, the Liquor
Control Commission has certain rules that must be
followed if "spirituous" drinks are to be sold. Nonprofit
organizations, for example, can obtain an "on the
premises retail beer permit" if they meet certain
requirements. Since the permit application takes several
weeks to process, submit all the paperwork (and the fee)
well in advance of the festival date.
Important as they are, government regulations are but one
part of the food/beverage picture. There are also several
other things to consider. Once concerns variety. Just as
the entertainment program is improved with a mixture of
performances, refreshments serve a wider and more
appreciative audience if the selections are diverse. In
fact, several very successful events owe a great deal of
their popularity to the tempting dishes made available to
a hungry public.
An earlier chapter noted that the food and beverage
business can be handled either by the festival organizers
themselves or by concessionaires. The decision on which
to go with is influenced by the amount of start-up funds
available, food service equipment, and volunteers. One
piece of advice, however, applies to both alternatives:
ask for bids. If the festival promoters are selling the
food, bids are a way to get the best prices on buns, hot
dogs, soft drinks, and other foodstuffs. If
concessionaires are to be used, solicit bids to find one
offering the best return (percent of gross) to the
organization. And, have everything---menu, hours of
operation, location, and the financial arrangements---
clearly spelled out in any contracts with vendors.
Legalities & Risk Management
The complexity of your festival will probably determine
which permits and licenses you need. Put one person in
charge of tracking them down. Licensing raffles and other
types of gambling was mentioned earlier in this booklet.
The need to obtain necessary permits associated with the
sale of food and beverages and to follow health
department regulations was also discussed earlier.
Festival organizers may want to consider registering with
the state as a non-profit corporation. Reasons for doing
this include protecting individual board members from
lawsuits against the festival and registering as a non-
profit corporation may be required for certain permits
and licenses.
A separate and additional consideration is to apply to
the Internal Revenue Service (IRS) for tax exempt status.
The IRS has prepared Publication 557, "Tax Exempt Status
For Your Organization," that will answer most questions
about filing requirements.
Risk management involves identifying and eliminating or
reducing potential claims through an in-depth risk
assessment. Insurance policies can be purchased to cover
known and unknown hazards such as weather conditions
(wind, rain, hail), fire, personal injury, property
damage, general liability, concessionaires liability (you
can have a policy to insure them), theft, workers
compensation, and performer "No-Show." This is not a
complete list. Consult legal council and/or an insurance
representative for further details.
Do not overlook security plans. Chances are police
protection will not be needed. However, if some incident
should arise and law enforcement officials are miles
away, a situation could get out of hand very quickly.
Because of this possibility, local governments frequently
have regulations addressing police patrol at public
events.
Liability Insurance is a critical issue for most
festivals. The risk of accidents or damage with almost
every aspect of your festival opens it up to litigation
if an accident occurs, no matter how insignificant it may
seem. Review and update your liability insurance policy
on an annual basis. You may wish to require additional
coverage for some events and you may require certain
vendors or entertainment to carry their own separate
policy.
Royalties: Paying The Piper
(Reprinted with Permission)
Almost all published music is protected by copyright and
enforcement of these copyrights is growing more
stringent. Organizations like ASCAP (American Society of
Composers and Publishers) are beginning to police
festivals and similar special events to ensure compliance
with the law.
While most professional musicians are already covered by
dues to ASCAP, most amateurs are not. If they perform any
music which has been previously published and/or
recorded, royalties must be paid or the performer and the
festival are liable to lawsuits. The same holds true for
playing recorded music. Royalties must be paid regardless
of the non-profit status of the festival or its
organizers, a change enacted in the 1978 revision of the
copyright law. Ignorance of the law, once considered an
excuse by the courts in music copyright matters, is no
longer acceptable.
Location/Physical Facilities
Lumped together in this chapter are many other matters
that must be attended to make your festival a success. A
few words about the site: it must be large enough to
accommodate the crowd, but not so big that there are vast
distances between the various areas of activity. City
parks are commonly used as are county fairgrounds. Some
groups have even had success with downtown areas,
particularly around courthouse squares.
Location is another consideration when it comes to site
selection. Not only should festivals take place fairly
near their prospective attendees, these events need to be
easy to get to. Areas along the route with potential
bottlenecks---narrow roads, one lane bridges, and the
like---should be avoided. Likewise, property subject to
flooding is not the best choice for a festival. And, of
course, there's no getting around the fact that festival-
goers arrive in vehicles which somehow must be parked. If
10,000 people show up and they average three to a car,
then a little over 3,000 vehicles must be parked. It's no
wonder that the sole responsibility of some festival
workers is arranging for parking. Among other things,
their plans should include handicapper spaces.
Once the site is chosen, sketch it out on a big sheet of
paper. Draw property to scale if possible and include
roads, trees, sidewalks, drainage, fire hydrants, power
lines, and any other important characteristics. When the
"base map" is completed, identify tentative locations for
restrooms, a first aid station, concession stands,
exhibit and entertainment areas, and whatever other
features the festival will include. There are several
rules to remember:
1. Locate restrooms so that they are convenient for the
crowd, not just where they can be conveniently set up.
Keep the restrooms in clusters. It's confusing if the
men's facility is at one end of the festival and the
women's is at the other. Make sure they are clearly
marked "Men" or "Women." It has been recommended to have
more restrooms designated for women than men.
2. Remember electrical needs when pinpointing stage
locations and arts and crafts areas
3. Establish some distances between entertainment and
exhibits. Otherwise an artist may be unable to explain
her techniques because of loud music.
4. Provide benches and even picnic tables in some shady
spots for those visitors who may need to sit and rest
awhile.
5. Consider visitors with special needs. How accessible
is your festival to people with physical handicaps? Just
as important as structural features is your attitude in
dealing with handicapped visitors. Be sure to accommodate
them.
6. Consider establishing an information booth. It's a
great place to answer questions, distribute programs, and
handle lost-and-found items.
7. Put some serious thought into the physical arrangement
of booths, stands and stages. Traffic---human traffic---
must somehow flow between these attractions. Minimize
points of resistance.
8. Finally, after everything is placed on the map, take
the plan out to the actual site. Visualize what is going
to go where. Be certain that the property can accommodate
each item that has been mapped.
9. Cleanliness is a must and cannot be stressed enough.
Provide an adequate number of trash containers,
conveniently and appropriately placed and be sure to
monitor and empty the containers on a regular basis.
Lost People?
Know that few things are more terrifying for a child than
being lost in a crowd, some festival organizers have
devised a way to quickly reunite families. It's the "Lost
People Tree"---a small tree decked out with clear
Christmas tree type lighting---where counselors are
stationed. Children who have become separated from their
parents are taken here and so are adults who have lost
their children. It's a great success.
VI. Evaluating
The management process consists of 5 main elements:
planning, organizing, staffing, directing, and
controlling. This final step, controlling, includes
evaluating and is addressed in this chapter. Most
organizations concentrate so much of their energy and
effort on the other four elements of management that when
it comes to evaluating, it is often overlooked or
avoided.
Evaluating loops the management process back to the
planning stage. It measures the proposed goals and
objectives against the actual outcome or results. What
did you do, who did it, how was it done? What worked,
what didn't and what do you recommend for next year?
You may also want to find out more about the visitors to
your festival and ask for their opinions on various
topics. Make sure you have a reason or use for each and
every question and that the information you collect is
useful for making future decisions.
Festival Impact Studies
Recreation, Travel & Tourism Institute Clemson University
(Reprinted with permission)
Festival assessment or analysis has historically been
accomplished in a cursory manner. As long as promoting
agencies generated the money they wanted, everyone was
happy. More and more, however, organizers are looking for
more formal studies of festivals. These studies can
assist in determining prime markets and how to reach them
with limited advertising budgets, and in determining
prime markets and how to reach them with limited
advertising budgets, and in determining economic impacts
of festivals.
So called "input-output" studies to account for every
dollar brought into a community by a festival and every
dollar taken out are tedious, expensive, and generally
not really necessary. Clemson University, in South
Carolina, has developed a simplified procedure for
assessing the economic impact of local festivals and
other special events which should satisfy all but the
most fastidious of accountants.
Economic Impact Flow Chart
The flow chart on the facing page (Vis. 5) is relatively
self-explanatory; a few items bear further discussion.
Some state tourism offices provide both financial and
technical support to festivals as part of their mission
to attract out-of-state visitors; but before they commit
funds, they want to see convincing evidence that the
event really does draw from across state lines. Evidence
that often influences funding comes from economic impact
studies that show proof of positive economic benefit.
Festival survey instruments (questionnaires) should be
kept to a minimum length. Festival-goers do not want to
spend a half-hour being interviewed or filling out a
questionnaire. Usually, local residents can be exempted
from many of the questions asked of non-residents.
Properly setting up the questionnaire makes this
difference easy to implement. Examples of questionnaires
can be found at the end of this chapter.
One final note on such surveys; they should be dated and
times noted. While most information sought is in the form
of averages or totals, time lines are also important for
future festival planning. For example, if spending
appears to decline dramatically after certain hours or on
certain days (and this can be double-checked with
vendors), then planners may consider curtailing festival
operations during these times or shifting the festival to
other days of the week. Group or individual types
attending the festival may also change during various
hours or days of the event. This knowledge helps schedule
entertainment or other attractions within the festival.
This information can be especially useful and even
critical if the event attracts group tours.
(Reprinted with permission)
Lifecycle
Recreation, Travel and Tourism Institute Clemson
University
(Reprinted with permission)
It has been known for some time that products have life
cycles. This is why product marketers are continually
offering the public "new" and "improved" versions. More
recently, it has been discovered that tourist
destinations---especially resorts---appear to experience
similar lifecycle fluctuations. Festivals are no
different. The simplified diagram below illustrates the
typical lifecycle pattern. (Vis. 6)
If a festival is strictly local in nature, it must
invariably saturate the local market, unless the locality
is experiencing real population growth. If the population
is stable or declining, festival attendance will follow
suit, and either stabilize or decline. Even if attendance
stabilizes, yearly cost increases caused by inflation, if
not matched by local population's salaries, will cause
festival net income to decline. Thus the term
"stagnation" on the diagram. Locally marketed festivals
usually reach this point within five to six years after
their initiation.
To counteract this cycle, festival operators must either
1) expand the promotional efforts beyond the local
population and/or 2) improve the product, i.e., add to or
redesign the festival. Either usually calls for
additional funding and certainly for creative thinking.
Either or both efforts should begin before the event
reaches its "mature" stage. A "ho-hum" reputation is
difficult to overcome and more costly than prevention.
Three relatively inexpensive ways to expand a festival's
market are through radio and television public service
announcements (PSA's), travel writers and familiarization
(FAM) tours.
This questionnaire (Vis. 7)makes no attempt to determine
how visitors learned about the festival. The even was held
on an enclosed field and required admission tickets.
Because this allowed attendance to be accurately counted,
time on site was unnecessary.
The Carnival atmosphere of an Oktoberfest type of festival
dictates that the question period be kept to a bare
minimum. For a more leisurely affair, such as the spring
Jubilee, the questionnaire can be expanded.
This questionnaire (Vis. 8) expands on the previous
questionnaire and attempts to determine what advertising
and promotion was most effective. Length of stay (question
6) on site was necessary to determine daily turnover rate.
Attendance was estimated based upon this factor times an
average number of participants on the town square at any
one time.
VII. Conclusion
Even after the last visitor leaves, the festival is not
over---at least not for its organizers. Some late details
must be handled.
One matter that must be taken care of promptly is to
extend thanks to individuals, firms, and organizations
that helped with the event. A personal note mentioning
specific contributions is strongly recommended; the mass
produced "thank-you" doesn't really carry much sincerity.
Including a photograph of the person "caught in the
action" or a sponsor's contribution is a nice addition to
the thank-you note.
Many organizers also prepare a festival notebook
including a complete report from every committee. By
featuring all kinds of information---budgets, telephone
numbers, outlines, news releases, contracts, and even a
list of mistakes to avoid---these notebooks pave the way
for next year's festival crew. It's also a great way to
preserve festival histories and traditions.
The festival board should continue to meet with the
finance committee to make a final accounting of all
revenues and expenditures. Be sure to pay bills as soon
as possible.
Finally, it may be a good idea to schedule an after the
event party to reward everyone that helped with the
festival. People have a chance to relax and share the
experiences of a long and interesting day.
A Final Word
Throughout this pamphlet it has been suggested to observe
other festivals and talk to the organizers for new ideas
and solutions to problems. Refer to the bibliography at
the end of this publication for a list of resource
materials that will be quite useful to most festival
planners, organizers, and workers.
In addition, consider contacting other civic or volunteer
organizations such as 4-H, Scouts, Jaycees, or YMCA to
get a different perspective on organizational skills and
working with volunteers. You may also find that materials
prepared by the Michigan Commerce Department or the U.S.
Small Business Administration can be adapted for your
uses. Running a festival has some close similarities to
running a small business.
We welcome your comments regarding this bulletin on
festival management. Please let us know if the ideas
presented here have been helpful to you or if you have
discovered additional tips that you would like to share.
Thank you.
Phil Alexander
District Extension Tourism Agent
200 Livingston Blvd.
Gaylord, MI 49735
(517) 732-6484 Ext. 272
E-mail - alexande@msue.msu.edu
Twelve Ways To Kill A Festival
1. Rest assured that everything will fall into place.
There's no need to organize.
2. Begin your planning tomorrow. These events are a piece
of cake.
3. Ignore Health Department regulations. After all, the
inspector was once on your bowling team.
4. Give everybody equal authority. There's no need for
leadership.
5. Assume that publicity is under control. The local
newspaper is sure to provide front page coverage.
6. Draw up rigid plans. Flexibility is for gymnasts, not
festival organizers.
7. Forget the idea of a simple event. Get your money's
worth and start out with a week long festival.
8. Demand help from local businesses and organizations.
They owe you some cooperation.
9. Don't worry about extra help. You and your six helpers
can handle any crowd.
10. Move the festivals date around from year to year.
There's no reason to establish a traditional time for it.
11. Discard receipts, invoices and other records. These
things just get in the way.
12. Let somebody else worry about start-up money. Spend
your time auditioning the entertainment.
Helpful Information
Organizations
Cooperative Extension Service
Contact your County Extension Office listed in the white
pages under County Government
Michigan Association of Fairs and Exhibitions
P.O. Box 241
Allegan, MI 49010
Phone: (616) 673-3030
or
Sue Bila
Festival Administrator
16381 S. M-52
Chesaning, MI 48616
Michigan Bureau of Lottery
Phone: (517) 887-6800
Michigan Council for the Arts
1200 Sixth Street
Detroit, MI 48226-2461
Phone: (313) 256-3731
http://www.commerce.state.mi.us/arts/
Michigan Department of Community Health
Lewis Cass Building - Sixth Floor
320 South Walnut Street
Lansing, MI 48913
http://www.mdch.state.mi.us/
or
Contact your local District Health Department
Michigan Department of Natural Resources (DNR)
Recreation Services
P.O. Box 30028
Lansing, MI 48909
Phone: (517) 373-1660
http://www.dnr.state.mi.us/
Michigan Department of Transportation (MDOT)
P.O. Box 30050
Lansing, MI 48909
Phone: (517) 373-2167
http://www.mdot.state.mi.us/
Includes Travel Information Services & Welcome Centers
http://www.travel-michigan.state.mi.us/
Michigan Department of Treasury
Sales, Use and Withholding Division
Treasury Building
Lansing, MI 48901
Phone: (517) 373-2923
http://info.migov.state.mi.us/depts/treasury/treasury.htm l
Michigan Liquor Control Commission
Phone: (517) 322-1345
http://www.commerce.state.mi.us/lcc/
Michigan Travel Bureau
P.O. Box 30226
Lansing, MI 48909
Phone: 1-800-5432-Yes or (517) 373-0670
http://www.travel-michigan.state.mi.us/
Michigan Travel, Tourism & Recreation Resource Center
(TTRRC)
Michigan State University
172 Natural Resources Building
East Lansing, MI 48824-1222
Phone: (517) 355-1822