ie: the business of international events - Winter 2014

the business of international events

Starting a Development Effort for Your Festival Integrating Online Tools into Event Management 2015 IFEA Award Brochures

Some Ideas Rise Above the Rest

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the business of international events

F E ATU R E S

Starting a Development Effort for Your Festival Integrating Online Tools into Event Management 2015 IFEA Award Brochures

On the Cover: Pasadena Tounament of Roses®, Rose Parade®.

DEPARTMENTS 8 10 14 16 18 20 22

24 27

President’s Letter In the Board Room Leadership at All Levels The Un-comfort Zone English 101 The Sponsor Doc Turnstiles: Marketing for Event Managers They Said What?

2015 Event Management School 60 IFEA World Festival & Event City 74 Hall of Fame 77 Pinnacle Awards 100 Volunteer of the Year 104 Foundation 106 The Board 108 Marketplace

Winter 2014, Volume 25, Issue 4 “ie” is published quarterly by the International Festivals & Events Association, 2603 W. Eastover Terrace, Boise, ID 83706, USA. Permission to quote from material herein is granted provided proper credit is given to IFEA. Subscriptions are available for $50 per year.

36 40

Re-invent With a New Lens – Keeping it Fresh and Innovative

by Diana Mayhew Small town Sponsorship – How to Make the Most of Your Limited Sponsors

by Jo Finlay

42

Email Protocols and Best Practices

by Steve McClatchy

46

Fairs, Festivals and Events: Multi-Coverage Social Interaction Platforms

by Fabian Obregon

50

Integrating Online Tools into Event Management

by Jill McCullough

52

Tips to Being and Staying Better Organized at Work

by Anna Miller

54

Starting a Development Effort for Your Festival

by John R. Melleky, CFRE

56

Networking GRACE: Building Your Network with Sincerity

by Gail Alofsin

59

Fab Four open Fab Fair

by Charlotte J. DeWitt, CFEE

PRESIDENT’S LETTER

The Gift We Bring “Celebrate what you want to see more of.”

Tom Peters

As we prepare to celebrate the Thanksgiving holiday here in the United States, I am following national and global news coverage of the rioting, looting, and violence that has occurred in the wake of the grand jury decision in Ferguson, Missouri.

Actions that will have devastating economic and personal impacts across an entire community and city; impacts that will take years to recover from.

Actions that will further divide neighborhoods and races. Actions that will erode trust between citizens and law enforcement, raise needless barriers, damage prosperity and take away from the quality of life that the residents of Ferguson deserve and desire.

In counterbalance, I also received information from the Tournament of Roses® in Pasadena, California, noting their theme for the 2015 Rose Parade®.

“Inspiring Stories,” a theme selected to encourage residents, visitors, and viewers from around the world “to reflect on and appreciate the many people around us who elevate the human spirit by who they are, what they have done, and what they continue to do every day. A theme that pays tribute to those who have loved uncondition-

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Steven Wood Schmader, CFEE

ally, persevered courageously, endured patiently and accomplished much on behalf of others,” explained 2015 Tournament of Roses® President Richard Chinen.

“They may be “heroes” or “stars” to some, but they don't seek such titles.

They may be kind, resilient, free-spirited or intensely focused, and though different from one another, they are all inspiring because they have overcome obstacles, achieved the unthinkable, given immeasurably or sacrificed unselfishly.

Whether for justice, for charity, or for any other good, they do so humbly and with resolve. It is the story of their journey that enriches our lives, regardless of the fulfillment of the purpose,” he continued.

What a stark contrast of vision and approaches. And while it would be unfair to pretend that the people of Ferguson, Missouri, or any other global ‘community’ of people with shared beliefs, commonalities and concerns do not have a right to be respectfully heard and fully included in the creation of new solutions to those concerns, I hope that we will see many new and inspiring stories rise from the destruction of recent days to help set Ferguson on a much brighter path for the future.

IFEA’s ie: the business of international events

Winter 2014

Author Tom Peters offered the consideration that we should ‘celebrate what you want to see more of.’

From that approach, the Tournament of Roses® has done exactly that and I encourage everyone in our global industry to follow their lead in the New Year by using the positive power of our combined events to set the example of who our communities, cities and countries can be when they are at their best.

Use your events to recognize current ‘heroes’, young and old; to educate and enhance understanding; to celebrate our diversity and bond those diverse backgrounds together; to partner with and showcase law enforcement officials in the positive light that the vast majority deserve; to bring down barriers and make the quality of life (including the assumption of a safe environment for all) in every community, our highest common priority.

We all enjoy the unique positions, tools, resources and influence to do just that; and during the holiday season, as well as throughout the year, that is the best gift that we can bring to our communities and our world.

On behalf of the IFEA and our friends and affiliates around the globe, I wish each of you…your families, your teams and your communities… much to be thankful for, much to look forward to and much to celebrate!

TWO PROGRAMS GUARANTEED TO INCREASE YOUR SPONSORSHIP REVENUE! International Festivals & Events Association

SPONSOR SUMMIT

Sponsorship is the fuel for the festival and events industry engine. Strengthen the partnerships you have built with your festival’s sponsors by hosting an IFEA Sponsor Summit.

When sponsors have to make difficult resource allocation decisions, they will remember the sponsor properties that gave them the tools and ideas they need to gain even greater value from their sponsorship investment.

SPONSOR AUDIT

Are you getting the most out of your sponsorship program? Is your sponsorship program performing at its peak or could it be strengthened? Have you identified and valued all of your sponsorable benefits and assets; or is their valuable ‘real estate’ going untapped?

Have you been so busy recruiting, servicing and retaining the sponsors you have that you haven’t had time to step back and evaluate your overall sponsorship program to see if there is room for improvement? If all of these questions have left you with even more questions, it may be time for an IFEA Sponsorship Audit!

To set up a Sponsor Summit or Sponsor Audit or for more information about these valuable IFEA programs, please contact:

SYLVIA ALLEN, CFEE +1-732-241-1144 • sylvia@ifea.com International Festivals & Events Association 2603 W. Eastover Terrace • Boise, ID 83706 • USA Phone: +1-208-433-0950 • Fax: +1-208-433-9812 www.ifea.com

By Mitch Dorger

In the Board Room

Enhancing the Board’s Role in Financial Management In many organizations, the business of financial management is left to the staff with only cursory involvement from the board. To me, this is not only a huge organizational mistake, but also a dereliction of duty on the part of the board.

Most experts agree that the oversight of financial matters is a fundamental and critical responsibility of the board. And yet, in many cases, this responsibility is not carried out well. There are myriad reasons why this is the case. This article will not attempt to detail the shortcomings of boards. Rather, it offers some suggestions to boards and board members so they can be better prepared to carry out their responsibilities in the future.

Develop Financial Literacy The first step in learning to be a player in your organization’s financial management is to gain a basic literacy in finances.

That means understanding the term of the trade, learning how to read financial statements, and understanding the unique accounting involved with nonprofits such as restricted funds and fund accounting – things that don’t exist in the for profit world. Boards all too often leave this function to the staff CFO or maybe one person on the board who understands these things. However, I believe the whole board should have a level of competence sufficient for them to effectively engage in the dialogue of the organization’s finances. I think it is the joint responsibility of the chief executive and the board chair to help arrange periodic training for the board as whole or at a minimum for the board members that serve on the Finance and Audit Committees. If you are a board member, and this training is not being provided, I would urge you to insist it be added to the board calendar. It is the only way you can begin to carry out your fiduciary responsibilities effectively.

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Understand the Business Model The second step is understanding how your particular organizational “machine” runs. Board members need to know where the revenue comes from and where it goes during the course of the fiscal year.

In my experience and in the experience of colleagues I have talked to, most board members and even many executives do not have an appreciation for how the organizational “machine” really runs. One colleague related to me that in a recent seminar she asked members of the audience how their organizations earned their money. Mind you, these people were all from organizations that relied solely on philanthropy to fund their organization.

Almost universally, the participants could not say what percentage of revenue came from grants, or what percentage came from direct mailing or what percentage came from events. In my own experience in an organization with widely diversified sources of revenue, virtually none of the board members could describe all the source of revenue and what percentage of income came from each. The lesson here is simple – if the board wants to steer the destiny and direction of the organization, the board members need to understand how the system works.

This is easy enough to achieve. The organization CFO or CEO should be asked to prepare a presentation for the board on revenue sources and expense categories. And this presentation should cover more than just a single year’s experience.

It should track several years of history to see how and if the revenues and expenses of the organization are changing and trending over time. If there is a Finance Committee on the board, that group should devote itself to becoming experts on the financial model and where the finances are headed.

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Winter 2014

Be involved in the Budget Process The third critical step is to have board involvement in the budgeting process, and by this I mean true involvement and not just some sort of pro forma final approval when the real work of the budget process is done.

I recommend an iterative process that involves the board Finance Committee as an active participant in the overall process.

1. The process should begin with the Finance Committee reviewing the actual results of the prior year. From there, the Committee along with staff executives should use their best estimating techniques to forecast the financial conditions for coming year. This information should be used to provide general financial guidance to the operational managers of the organization. This guidance should include direction on where financial belts need to be tightened or where additional resources will be required in the coming year.

2. Using the guidance from the board’s Finance Committee, the operational managers prepare their detailed expectations of both revenue and expenses.

These estimates should be based on solid operational analysis and not just “This is what we spent last year.” When these operational budgets are completed, they are assembled by the staff finance department and returned to the Finance Committee.

3. The Finances Committee then reviews the assumptions used by the operating managers and examines the consolidated results for the organization. Assumptions should be challenged, estimates questioned and impacts considered. These discussions should also include some sense of activity prioritization for the full board to consider at the appropriate time. The committee should also look at alternative financial scenarios in order to understand what accommodations might be required if expectations are not met.

4. When the budget is acceptable to the Finance Committee, it should be brought forward to the full board. When this happens, care should be taken by the Finance Committee chair and the organization’s financial staff to explain the key particulars to the full board including assumptions used, estimates made and priorities considered. These are all topics that should be reviewed by the board before a final decision is reached on the financial plan for the coming year. The alternative financial scenarios should also be discussed and a strategy agreed upon if assumptions prove to be incorrect. The final result is a detailed plan for how the organization will operate in the coming fiscal year.

Monitor Performance Once the financial plan is prepared, the board cannot turn its back on financial managment. It must now become actively involved in periodically monitoring the progress of the financial year. To do this, revenue and expense plans need to be prepared to compare to actual results.

The most basic revenue/expense plan is a linear model. This model basically assumes that expenses/revenues will be earned or expended in a relatively constant manner over the course of the year (see Figure 1). This results in what can be termed “proportional” financial comparisions. For example, this model would say that at the end of the sixth month of the fiscal year, that half of the expenses should have been made and half the revenue should have been earned.

This type of monitoring tool may be sufficient for relatively simple businesses or organizations, but it will not fill the bill for any organization that is seasonally dependent (like most of us in the festival and event industry). In our organizations, a more complex tracking model is needed. More sophisticated revenue and expense plans need to be prepared. Figures 2 and 3 below show actual revenue and expense plans for a real organization in the festival and event industry. Note that while expenses follow a relatively constant output, revenue comes in spurts. To effectively monitor organizational financial performance during the year these “real world” plans need to be developed.

Preparing such plans can have an additional benefit. Superimposing the plans as shown in Figure 4 below will show how expected expenses occur vis-a-vis revenue. This can result in the identification of negative cash flow periods which must be recognized by the organization ahead of time and appropriately planned for.

So how are such plans prepared? The answer is to look to the past as a prologue for the future. It involves a five-step process.

LINEAR TRACKING CHART FIGURE 1

120% 100% 80% 60% 40% 20% 0%

1

2 3 4

5 6 7

8 9 10 11 12

ACTUAL REVENUE FIGURE 2

120% 100% 80% 60% 40% 20% 0%

1

2 3 4

5 6 7

8 9 10 11 12

1. First, lay out all actual revenues and expenses from the prior year on a month-by-month basis as shown here.

ACTUAL EXPENSES

2. Next, convert the actual dollars to a percentage of the total revenues/expenses.

3. Repeat this process or the past three fiscal years.

FIGURE 3

120% 100%

4. Average the results for the previous three years as shown here.

80%

5. Apply the percentage average to the total of the newly approved budget.

60%

This process produces a realistic, experience-based forecast that can be used for monitoring purposes. (Note: The same process is followed for both revenue and expenses.) The actual monitoring process should involve comparing the revenue and/ or expense plans to the actual experience of the current year.

This should be a four-column analysis as shown below.

20%

40% 0%

1

2 3 4

5 6 7

8 9 10 11 12

REVENUE VS EXPENSES FIGURE 4

BUDGET ACTUAL VARIANCE REMARKS $16,148

$17,950

$1,802

Utility rates unexpectedly increased

120% 100% 80%

This process can be used for the budget as a whole or it can be repeated on a program by program basis for more detailed monitoring. Comparisons should be made at least on a quarterly basis and even monthly during critical times in the year. This process of monitoring should continue throughout the year, and the board should watch for unexplained variances between budget and actual and inquire as to the reasons for such variances and recommended actions, if any are needed.

60% 40% 20% 0%

1

2 3 4

5 6 7

8 9 10 11 12

Continued on page 107

Winter 2014

IFEA’s ie: the business of international events

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The IFEA would like to thank the following partners for their dedicated support of the association.

Association Endorsed Partners have made a commitment to the continued success of our association, our members, and our industry through their umbrella support of all IFEA programs and services.

Show your support for these dedicated providers to our industry by getting to know them, and the high quality products and services that they supply, better.

Bruce Storey

1940 - 2014

A T R I B UTE TO

By Charlotte J. DeWitt, CFEE

Imagine thousands of glittering stars thrown into the dark night and slowly drifting down to earth. That was the imagery of the celebration of life tribute to the late Bruce Storey, who died suddenly on November 8, 2014 in Denver, Colorado (USA). He was 73. The memorial event was held at the Clyfford Still Museum in Denver, his favorite museum of art. Bruce’s husband Edward Wise said, “Bruce spent his life giving the world amazing events, and it is only fair that he was given a great send off.”

Bruce put the strut in the Bessie Smith Strut, bent the river at Chattanooga, Tennessee’s Riverbend Festival, dotted the “I” in the Houston International Festival in Texas, and placed the cherry on top of

the Cherry Creek Arts Festival in Denver.

As a Board member of IFEA, he forever changed the direction of the association, legitimizing its quest to be the standard-bearer of professionalism both internally in its management structure, and externally in its position to the world. It is a legacy that continues today.

With a career spanning over 30 years, Bruce was one who lived his ideals on a daily basis, whether that was marrying his long-time companion Edward Wise in 2008 or using the common denominator of music to ease racial tensions and promote downtown revitalization in Chattanooga, Tennessee (USA) in the early 1980s.

He believed strongly in festivals and events as agents of social change, a way to foster a sense of community and to showcase our best selves, and he believed in IFEA and its ability to improve the quality of that experience. He was a pioneer long before people acknowledged the powerful role of festivals and events in the healing of a community. The success of “Five Nights in Chattanooga,” a series of concerts along the city’s neglected Ross's Landing riverfront produced in 1981 with his business partner Richard Brewer through their company Variety Services, led one year later to the creation of the Riverbend Festival, now ranked in the top 10% of all American festivals. Bruce

was Riverbend’s first Executive Director, a position he held for a decade.

Bruce served in a leadership role to some of America’s top festivals, as well as on the Boards of both IFEA and the Colorado Association of Festivals and Events, eventually retiring in 2000 while president of Cherry Creek Arts Festival (Colorado).

He dedicated the last years of his life using his professional skills to advance the cause of epilepsy, a disease his granddaughter Josie struggles with every day.

Bruce Storey’s impeccable integrity and honesty, his imagination in the world of celebration, and his vision that IFEA and its festivals can make a better world will be missed. In navigating the world of festivals and events, he was our North Star.

CONDOLENCES: EDWARD WISE edward.b.wise@gmail.com DAUGHTERS MARGARET STOREY MSTOREY@depaul.edu and SARAH STOREY sarahstorey_1999@yahoo.com

IFEA VISION

A globally united industry that touches lives in a positive way through celebration.

With respect to interactions with members/customers or those applying to be members/customers, the IFEA will not cause or allow conditions, procedures, or decisions which are unsafe, undignified, unnecessarily intrusive, or which fail to provide appropriate confidentiality or privacy. If you believe that you have not been accorded a reasonable interpretation of your rights under this policy, please contact the IFEA office at +1-208433-0950 ext. 18.

Publisher & Editor Steven Wood Schmader, CFEE, President & CEO Assistant Editor Nia Hovde, Vice President/Director of Marketing Advertising Sylvia Allen, Director of Partnership Marketing Advertising Sales & Expo Booking Art Director Craig Sarton, Creative Director Contributing Writers Gail Lowney Alofsin, Fabian Obregon, Charlotte J. DeWitt, CFEE, Mitch Dorger, Jeff English, Bruce L. Erley, APR, CFEE, Jo Finlay, Scott Fraser, Sean King, Diana Mayhew, Steve McClatchy, Jill McCullough, John R. Melleky, CFRE, Anna Miller, Robert Wilson Photography Andrew Rafkind

For association or publication information: IFEA World Headquarters 2603 W. Eastover Terrace • Boise, ID 83706, U.S.A. +1.208.433.0950 Fax +1.208.433.9812 http://www.ifea.com Winter 2014

IFEA’s ie: the business of international events

13

LEADERSHIP AT ALL LEVELS With Gail Lowney Alofsin

“Leaders are made, they are not born.”

Vince Lombardi

“She’s a born leader,” “My supervisor gave me the tools for success,” “My professor inspired my interest in that subject,” “My parent’s inspired me to help others.”

We may tend to hold onto the belief that the leadership title in a company is reserved for “the boss,” yet leadership is developed and honed well beyond the board room and senior directors. Often, the leadership of a company is as strong as the attitude of and the decisions made by the front line; the people serving your customers on a daily basis. When you check into a hotel, your first impression is made by your interaction with the bellmen and front desk staff. In addition to the cuisine, the host and server may keep you returning to your favorite restaurant.

In the corporate world, the “director of first impressions,” is the assistant answering the phone and greeting visitors. The gate and operations teams of your event serve your clients - attendees, exhibitors, and sponsors. We all prefer working with companies and people who are amicable versus “Eeyore.”

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Leadership is comprised of many elements. Your ability to motivate and inspire others to present their best work, serve others with grace, and lead their best lives, is leadership. Yet some leaders, in the position of “power” serve to expire versus inspire others.

This column, Leadership at all Levels, will focus on emerging theories and best practices in the field of performance leadership. You are the leader of your life and your ability to develop a vision that motivates others to positive action will guide your personal and professional success. Candor, integrity, humility, initiative, communication, inclusion, discipline, and decisiveness are among the leadership traits that you exhibit to your stakeholders from your team to your clients.

Leaders are present on all levels of a company. What can you do to hone your leadership skills and assist others with theirs on a daily basis? Actions will always speak the loudest. Start today – developing and enhancing your best you!

IFEA’s ie: the business of international events

Winter 2014

Gail Lowney Alofsin is speaker, author, university professor and business consultant. She is the President of AMP! (Authentic Measurable Performance) delivering presentations focused on leadership performance, work life balance and integration, communication, customer service and the Power of Positivity.

Her book, Your Someday is NOW – What are you Waiting For, is focused on becoming your best you. A lifelong student and humanitarian, Gail believes that we all have the capability of being a leader in our own lives, influencing the lives of others for positive peak performance and success. An active volunteer since the age of 7, Gail believes that leadership commences when we look beyond ourselves to enhance the lives of others – personally and professionally. She can be reached at 401-640-4418 and gail@gailspeaks. com. Follow her on twitter: @gailalofsin and visit her website: gailspeaks.com.."

Your Event Has

IMPACT…

SHOW IT!

Commission Your IFEA Economic Impact Study Today

In uncertain times, we must often remind those whose support we depend upon, of the important economic and social value that our festivals and events bring to the communities we serve. Having a credible and current economic impact study can do just this, in addition to increasing credibility with stakeholders, providing quantified data to sponsors, presenting reliable data to base future marketing and programming decisions upon and much, much more.

Unfortunately, this critical resource, especially with credible credentials, is often financially out of reach for most events even in a good economic environment. Recognizing this, the IFEA has created a cost effective, industry credible program to provide Economic Impact Studies at a budget-accessible investment. Call us today to learn more.

GETTING STARTED For more information about this valuable IFEA program, please contact one of our Business Development Directors: Steve Schmader, CFEE • 208-433-0950 Ext: *818 • schmader@ifea.com Ira Rosen, CFEE • 732-701-9323 • ira@ifea.com Penny Reeh, CFEE • 830-456-3829 • penny@ktc.com

THE UN-COMFORT ZONE

With Robert Wilson

Example is Everything As you finish reloading your rifle, you realize there’s a lull in the fighting. There is no gun fire, no explosions, the screaming and yelling have subsided. After three hours of battle, it’s become relatively quiet on both ships. You take a moment to assess the situation.

From the beginning you’ve been at a disadvantage. The enemy’s ship is newer, bigger, faster, and has more guns than yours. You admit she’s a beauty, built to be a warship, unlike yours which was retrofitted for war from an aging merchant ship designed for trade and cargo.

Your opponent hit you pretty hard with its first volley. Those big guns ripped huge holes in the sides of your ship. You had some pretty big guns too, but the first one fired exploded and took out all the cannon around it. Now that deck is useless and most of the men on it are dead.

The battle started at nightfall, and you’ve been fighting by moonlight. There are other ships on both sides, but in the smoke and the darkness no one can tell friend from foe. One of your own ships, thinking you were the enemy, fired a broadside which killed a dozen of your men.

You believe you have the smarter captain. He has outmaneuvered the enemy at least once. He saw that the big warship had turned in such a way as to lose all the wind in its sails. Rather than take the opportunity to flee, he took the more daring option of sailing right up against it, so that the two ships were side by side. Your captain was even the first to start lashing your ship to the enemy’s so they could not get away.

At that point the battle really became fierce. The enemy’s cannons continued to blow holes in your ship. However, now with the two ships locked together, the cannon balls shoot straight through the hull and out the existing holes on the other side limiting the destruction.

Unfortunately, the damage has been done, water is pouring in and your ship is sinking. You can feel it and see it.

Your top deck is already lower than the enemy’s. Half an hour ago, they tried to take advantage of that by boarding your 16

ship. You and your fellow sailors engaged in savage hand-to-hand combat led by your captain until you forced the enemy to retreat back to their ship.

Nevertheless, things are looking pretty grim. You’re not just sinking; one of the decks below is on fire. Plus, all your sails are aflame, lighting up the night and making all the damage to your ship clearly visible. You can see that half your crew is dead. You were outnumbered to begin with, now the odds seem impossible. You can feel the fatigue starting to seep into your muscles, and you figure the fight is over and that you’ll soon be in chains in the warship’s brig.

The British Captain is thinking the same thing, and yells across the bow, “Do you surrender?”

You look around, but the captain is no where in sight. A shipmate says the captain and the first mate are dead. Suddenly, the ship’s carpenter takes it upon himself to give up and starts yelling, “We must strike the colors!” You think the ship must be gravely damaged, and sinking faster than you thought if the ship’s carpenter is crying out for surrender.

You hear someone shout, “Stop!” It’s the captain, who has just appeared out of the smoke. The carpenter doesn’t hear and continues running toward the flag pole. The captain pulls a pistol from his belt. You think he is going to shoot the carpenter, but instead he throws it with pinpoint accuracy hitting the man in the head and knocking him out cold.

Once again, the British captain cries out, “Do you surrender?”

Your captain, John Paul Jones, replies loud enough for everyone on both ships to hear, “I have not yet begun to fight!”

A rallying cheer erupts on board your ship, and you think, “This man is amazing!” You fire your musket as everyone on

IFEA’s ie: the business of international events

Winter 2014

board begins to fight again. You double your efforts and reload faster than you ever have before. A shipmate throws a grenade, hitting a pile of munitions on the British ship. There is a massive explosion and moments later, you and your crew swarm over the gunwales onto the top deck of the enemy ship. Within minutes that deck is captured and the British captain surrenders by pulling down his flag.

You look at Captain Jones and think, “It looks like we had the advantage all along.”

Time and again, John Paul Jones led by example and motivated his crew to fight on against unimaginable odds. That hard won naval victory is, to this day, considered the most important in U.S. history because it set the standard for the American navy.

Leading successfully begins with being a good role model. I recall my parents saying, “Do as I say, not as I do.” In the end, I always did as they did. What they did not realize is that whether you intend to or not, you always lead by example. Mahatma Gandhi understood this when he said, “We must become the change we want to see.”

When you communicate by example, you say non-verbally that you would not ask your employees to perform anything that you are not willing to do yourself.

Or as Albert Schweitzer observed, "Example is not the main thing in influencing others. It is the only thing."

Robert Evans Wilson, Jr. is a motivational speaker and humorist. He works with companies that want to be more competitive and with people who want to think like innovators.

For more information on Robert's programs please visit http://www. jumpstartyourmeeting.com

Is Your Online Marketing

PLUGGED IN? Let the IFEA Take a Look with our New Online Marketing Audit Program

If you are like most events/organizations, your on-line marketing presence and visibility is really just a summation of non-related, often outdated, components and links and access to miscellaneous tools/ toys that someone in a seminar somewhere said that you should be using, with no real ‘plan’ to it at all. You may not even be sure anymore just what you have or what it should do, let alone having a plan for strengthening / upgrading it. If this sounds like you, it’s probably time for an online tune-up.

We’ll make sure your Online Marketing is Plugged In! Working with some of the most experienced professionals in the field, IFEA is pleased to offer our new “IFEA Online Marketing Audit.”

The Audit includes a formal evaluation of a festival/ event’s online visibility by an expert team from Edgeworks Group that includes web developers, social media consultants and online marketers. This broad assessment – a starting point for defining both a short-and-long term roadmap for creating a powerful online presence covers your event/ organization’s: • Online reputation • Social and mobile integrations • Search optimization • Website usability • Social media efforts.

• Installation of tracking tools • Updates and customizations to existing tracking programs • Verification of Webmaster tools for both Bing and Google

To learn more about the IFEA’s Online Marketing Audit, please contact: Nia Hovde, Vice President & Director of Marketing & Communications at nia@ifea.com or +1-208-433-0950 ext: 3 or Click Here

ENGLISH 101

By Jeff English, CFEE

OH SNAP! Let’s be clear - I’m not talking about some stupid squabble between botoxed beauties on the Real Housewives of Orange County. Nope, today we’re talking about “snapping” pictures of your attendees at events and whether you can use those pictures in advertising and marketing materials.

I’ve been writing this column for nearly two years and doing a legal presentation at the annual IFEA conference for four years.

The topic of taking photos of patrons and their children and then using those photos on websites, social media, billboards, print materials, and T.V. advertising always comes up. That’s because there’s A LOT of gray area over what constitutes a public space and the required permission to use someone’s image or likeness.

Let’s start with the basics: If you or your official photographers are taking pictures of patrons at your events and those pictures are used for advertising and marketing materials, then the subject of those photographs must give you permission to use their image or likeness. That’s a pretty broad rule and the meaning of “permission” is certainly subject to interpretation.

Consider this example: A beer company will be marketing a new beer and needs pictures of young, good looking people, having fun drinking the beer. Let’s assume you are at an event (and are obviously young and good looking) and decide to try the beer. While you are chatting with your friends a photographer takes your picture.

The next week you visit www.espn.com and there you are smiling, laughing and drinking the beer. Your first thought is, “What?

I don’t want my image and reputation to be associated with that nasty beer.” Then, your materialistic instincts kick in and you think, “Well, at least someone needs to pay me some money.” You don’t remember giving the beer company permission to use your image, not because you drank too much, but because they didn’t have you sign a consent form or even tell you that the picture would be used for advertising purposes. The law tells us that non-celebrities have a basic right for people not to intrude into what we are doing. Especially when it comes to unknowingly becoming the face of a beer advertisement. In this case, while you were hanging out at a public event and there was a possibility of your 18

picture being taken, the beer company did not advise you they were shooting images for advertising and in no way informed you that your image might be used to market the beer on the internet.

So what can your festival do to garner the permission of your patrons to use their images in advertising and marketing materials?

The idea of hosting an event and getting 20,000 people or more to sign a waiver and release is impossible and impractical. The Kentucky Derby Festival does three things to obtain permission and inform our patrons that their images might be used in advertising materials.

1. With events that require liability waivers, such as the miniMarathon race, we add language that gives us blanket permission to use their image or likeness.

An example of acceptable language would be: “I understand that Kentucky Derby Festival, Inc. reserves the right to use all participant’s names and/or likenesses in any and all promotional and/or advertising materials in any medium, including the internet.”

2. For ticketed events, we add language on the back of the ticket that says: “Holder expressly grants the promoter and its licensee permission to use holder’s image or likeness in connection with any live or recorded transmission or reproduction of such event, or in any future promotion and/or advertising materials, in any medium, including the internet.”

3. For those venues that are fenced, but not ticketed, such as Thunder Over Louisville or the Fest-a-Ville concert venue, we hang signs at the entrance to the venues that read: “By entering this event venue, you expressly grant Kentucky Derby Festival, Inc. the right to use your image or likeness, or your child’s image or likeness, in promotional or advertising materials, or in any live or recorded transmission of the event, in any medium, including the internet.”

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Let’s walk through a hypothetical example. Your festival is producing a big concert with an expected attendance of over 10,000 people. It is not a ticketed event, but there is fencing around the venue to control the crowd. One of your photographers just happens to catch the perfect shot of a couple singing along to their favorite song.

That picture becomes the billboard for next year’s concert promotion. Neither person signed a written waiver, but they entered a venue where a sign was hanging with the language referenced in example #3. They call your office complaining that they don’t want their picture on a billboard. They demand you take it down and pay them a fee for the time their image was used on the billboard. What arguments do you have to refute their demands?

In this case, you have a couple of good arguments to keep the billboard up and not pay them any money. You’d begin by telling them the concert was in a public venue that was fenced in and their expectation of privacy greatly diminishes in that type of setting.

The festival was taking pictures of the crowd and such an act is common and should be expected at this kind of event. Finally, you would reference the sign at the entrance to the venue as ample and proper notice that if they entered the venue, the festival could take their picture and then use it in future promotions and advertising. Now, more often than not, the situation can be defused by offering tickets to an event or VIP access to a future show. But if they insist on pressing their case, just know that you have good legal footing to stand on.

What about having great legal footing to stand on? My suggestion would be that if you have an event where you KNOW that you need a great shot for future advertising, then you need to get written permission from those whose picture you take. Have an intern or volunteer follow your photographer around as they specifically seek out shots for that advertising and have those people sign a Continued on page 107

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THE SPONSOR DOC

With Bruce L. Erley, APR, CFEE

Sponsorship Sales: A Tough Row to Hoe Dear Sponsor Doc: To be honest, sometimes I just get tired of trying to find sponsors for my event. It is often long hours, chasing lots of rabbits with limited success.

Any words of encouragement for me?

- S.S. Omaha, Nebraska Dear S.S.:

Oh I get it…and so does anyone else whose job is to find and sell sponsorship for their events. I noticed you are from the heartland of the U.S. so let me use some wisdom from farming and ranching that might provide some insight and encouragement.

Yes indeed, finding sponsors can be “a tough row to hoe.” The marketplace you work in may be fertile soil or filled with rocks. It is your job to prepare the field for planting. That includes having the right equipment (e.g. event audience demographic info, and well-designed sponsor benefits packages), preparing the soil properly (e.g. creating leads lists, and inviting prospects to experience your event) and knowing the right time to plant, (typically the fall is the best time to plant seeds of sponsor interest.) The good news is that once you prepare the field the right way, it can produce great crops for years to come.

Next, be sure you have “checked on the lower 40.” In other words, have you surveyed your ranch? It is essential to annually review your event in order to assemble an inventory of what you have to offer. Be sure to determine those things that will be of greatest interest to potential sponsors. Think beyond booths and banners. Your digital and social media outreach is becoming a valuable asset to 20

sponsors. Hospitality that can be leveraged with customers, clients and staff should be quantified. Creative activations that provide innovative brand engagement are important to identify.

Further, as any farmer knows, “there is a time to plant and a time to sow.”

Timing in sponsorship sales will have a significant impact on your success. You wouldn’t expect to harvest seeds you plant a month or two earlier, why would you expect to sell a sponsorship only a couple months before your event? I try to renew all the prior year’s sponsors within three months following my event. That provides the financial foundation for the coming year’s sponsorship budget. With those renewals in hand, I move my focus to finding new sponsors, an effort that begins at least six months in advance. Just as it takes time for a plant to germinate and bear fruit, it takes time to build a relationship with a potential sponsor and have your proposal go through the vetting and evaluation process.

My final bit or ranch-related encouragement for you comes from Billy Crystal in City Slickers…”Rollin', rollin', rollin', keep them dogies rollin.'” Don’t give-up, S.S. Yes, finding sponsors can be hard but persistence and resilience must be your companions along the trail. Happy Trails to You!

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With more than three decades in sponsorship sales and consultation, Bruce L. Erley is the President and CEO of the Creative Strategies Group, a full-service sponsorship and event marketing agency based in Denver, Colorado he founded in 1995. Accredited in Public Relations (APR) by the Public Relations Society of America and a Certified Festival & Events Executive (CFEE) by the International Festivals and Events Association, Erley is a highly-regarded speaker on event marketing and sponsorship having spoken on the topic around the world in such places as Dubai, Vienna, Beijing, Toronto and New York.

Contact Info: Bruce L. Erley, APR, CFEE President & CEO Creative Strategies Group Phone: +1-303-558-8181 Business Email: berley@csg-sponsorship.com Column Enquiries Email: bruce@sponsordoc.com

Turnstiles: Marketing for Event Managers

Plan the Work; Work the Plan 7 Steps of Building a Marketing Plan that Works

By Sean King

It’s a Monday morning, roughly three months since your last event, and your boss comes to you and says, “The Board meeting over the weekend went extremely well. So well, that we’ve decided we’re going to add another event to our schedule and you have six weeks to launch. Go!” What do you do?

A. You immediately stand up and walk out.

B. You begin to sweat, giggle nervously as your eyes roll back into your head as you slowly lose consciousness.

C. You reach to your laptop, open a file and calmly begin building the marketing plan from the same format you’ve crafted and refined after years of experience.

You say you don’t have a copy of a marketing plan? Well, then A and B might be your best alternatives. But if you are simply determined to succeed, this article is for you. We’ll give you some quick tips and helpful hints on how to build a marketing

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plan that will at the very least, get everyone singing from the same songbook.

Step 1 – The Big Picture All plans should begin with the overall objective of the organization and how the project fits within that mission. Why are you doing this in the first place?

Most plans fail because everyone does not know the simplest questions: “What are we doing and what are we trying to accomplish?”

Side note: You should incorporate the basic mission of the organization and the significant brand traits in your summary to reinforce the integration of all elements into the project. Too often mission statements become relegated to signage and website afterthoughts, here is the chance to have it live and breathe as part of your working document.

Step 2 – The Scope The Scope stage is the first time that you roll up your sleeves and dump all of the items you anticipate to be part of

the overall project into a comprehensive overview. The Scope is where you create project definition, outline the multiple steps of the plan, but at this point you’re not quite ready to dive into the weeds.

Side note: Speaking in future tense is a good way to get folk’s heads nodding and agreeing to what the eventual outcome will be for the project. This step in the planning document is usually the toughest because it’s the piece that aggregates all of the conversations, meetings, and brainstorming into one document. You may find it particularly helpful to write this piece, sleep on it for a day or two, and then come back to update it.

Step 3 – Projected Budget If it makes money, it costs money. The budget stage is where you put pen to paper (or open the Excel) and dig in with the numbers to provide successful execution of your plan. Make sure to not leave anything off the budget, including those large expenses like media buys, printing, postage, etc., but also the smaller items like signage, graphic design and tchotchkes.

Side Note: One point that is argued in many organizations is personnel costs.

If your team is set up to expense out particular individuals to a project, then by all means go for it. But in most cases, the majority of the organizations are small enough to not have to add this level of detail.

Step 4 – ABC’s (Assumptions, Barriers and Constraints) If you learn and understand your ABC’s, it goes a long way for you to avoid the pitfalls outside the realm of marketing that can affect your project.

While they are not necessarily marketing’s problems to solve, they do impact the job we are left to accomplish.

First, you need to list all of the Assumptions related to the project. These are all of the big picture pieces that you, your team and organization understand as being fact. The fact that your venue will be available, any third party vendors or acts will work with you on the event, the weather will be cooperative for an outdoor event, etc., are all Assumptions to include in your planning document.

Barriers are those challenges that can be overcome with a little creativity, negotiation or flat-out chutzpah. Most event organizers have become very adept at taking on these obstacles and succeeding.

Constraints are the third component to this step. These are the challenges that cannot be overcome. Listed under this category would be physical or logistical limitations that cannot be changed, external competitive forces from other events and promoters, staff and resource availability, etc.

Side Note: The senior event staff can answer most of these questions in one meeting or document. If you work on a small team, it might take a few folks to put their heads together to create a comprehensive list. Don’t worry about creating an exhaustive list of ABC’s, but rather, focus on those major elements that will directly impact your efforts to market and promote your event.

could be the single most important element to a successful plan.

Step 5 – Roles & Responsibilities Without a doubt, accountability is a critical element in the execution of any marketing plan. Far too many times, great plans never reach their full potential because the roles and responsibilities are not clearly outlined for each of the stakeholders in the project. In the worst case scenario, marketing team members do not have proper direction or understanding of what they are to accomplish.

This step of the project plan is important because you are able to assign tasks to individuals and teams to complete. Just as in any playbook, if you direct people to what has to be done and provide the resources and direction for them to accomplish their goals, success will follow.

The assumption here is that the actual communication and promotion plan has been thoroughly vetted and that the steps needed to succeed are in place. If the proper amount of time was not spent on planning the plan, all of the effort and expense will go for naught.

Side Note: Make sure all team members are included in this stage. Marketing committee members, volunteers and others who lend a hand in promoting the event, need to know what role they play and how best they can serve the overall plan.

Step 6 – Milestones The Milestone stage is the part of the document where you set your objectives to be met on the way to achieving your overall goal. If you have set up the plan, agreed on the budget and assigned roles, the final piece of this puzzle is the checkins to make sure you are staying on task.

Milestones should measure internal and external items such as going live with ticket sales, holding a press conference or announcing a new sponsor. Milestones can also be your guidepost for when you want to measure the number of tickets to be sold, number of social media impressions to be reached or similar metrics.

Side Note: As any time management or motivational expert will tell you, without stated goals that are measurable and in time, most projects are doomed to not reach their full potential. Setting and reaching Milestones for your project Winter 2014

Step 7 – Communications & Promotion Plan Finally, it’s time for you to get into the weeds with a comprehensive Communications & Promotion Plan. This is the step when the actual plays in the playbook are written.

As part of this step, the timetable for social media posts are listed, dates and action plans for press releases and publicity are detailed, the activation of the paid and in-kind advertising buys are aligned, engagement plans for your sponsors are outlined among the myriad details that go into even the smallest marketing plan.

What is so very important at this stage is the vetting of ideas. Give an event or project to marketers and you’ll run out of bandwidth before they run out of ideas.

It is imperative that you separate the great ideas from the average, determine what works within the constraints of the brand and mission of the organization and set sail with your plan. There will always be some good ideas that don’t make the cut, but to increase your efficiency and improve the effectiveness of the marketing plan, you need to choose one direction and stay the course.

Side note: Remember that a marketing plan is not solely about advertising and promotion, but rather a compilation of virtually every element of engagement by stakeholders throughout your organization, sponsors, partners and the general public.

Conclusion While this article is just a brief overview of what a working marketing plan might look like, there are certainly other formats, software solutions and other ways to craft the plan that is just right for you and your event.

In the end, what matters is that you document where it is you want to go, how you want to get there and by when.

Stay focused on your goals and there’s no limit to the success you will achieve. Best of luck and can’t wait to hear about the success of your 2015 event!

Sean King has been consulting with small businesses and non-profits organizations for over 20 years. Cur­ rently, Sean is the Director of Market­ ing & Communications for Youth Edu­ cation in the Arts (YEA!), a non-profit organization based in Allentown, PA which teaches life lessons through music. He also blogs regularly at www.artsmarketingblog.org. You can follow Sean on Twitter @skingaspire or contact him at: sking@yea.org

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THEY SAID WHAT???

By Scott Fraser

Why You Need Public Relations!

Ah yes, “public relations”. We all know what it is…..or do we? I’ll bet if I asked ten different people to define public relations, I would get (at least!) 10 different answers. Many have a basic, “kinda, sorta,” understanding but for a lot of people, it is hard to put their finger on it and come up with a definition all can agree on.

What I tell my clients is: “My job is to make you (your business, industry, product or event) look good.” It really is as simple as that.

And of course there are a host of tools and techniques to help achieve that goal.

Why then do so many companies/celebrities/politicians/athletes get it so wrong? I like to quote that auto insurance commercial that simply blames accidents on “Humans”. As long as the human factor is involved, people and businesses will stub their toes and find a need for public relations.

But PR is not all about smoothing over the bad stories. If you do your job right, and we as PR professionals do our jobs right, the idea is to let your audiences know about all the good things you are accomplishing with your festivals and special events. And it is a good idea to tell your story on a year-round basis if you can, not just at the time of the event.

This column, “They said what???” will be appearing quarterly. We will take a look at some examples of public relations done well, and some examples of situations that could have been handled better.

And I would like to tackle topics that interest you. If you have specific questions on public relations, or would like to have a certain issue or topic addressed, I would love to hear from you. Just drop me a line at: sfraser@frasercomm.com. I look forward to hearing from you and look forward to chatting with you in upcoming issues. thing."

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Scott Fraser is a veteran communications professional with more than 30 years’ experience. As principal of Fraser Communications Group, he provides public relations, media relations and crisis communications advice for his clients who range from small non-profits, to international corporations.

He has been hired to protect the reputations of companies in crisis, and gain positive public exposure for clients ranging from an emerging high tech company to established organizations in industry and healthcare.

Sought after as a public speaker, Fraser also is an adjunct professor at Salve Regina University in Newport, RI, teaching courses in Crisis Communications and Public Relations.

He is a member of the Public Relations Society of America, serving as Treasurer of PRSA’s Northeast District and is a past president of the Southeastern New England Chapter.

You can reach Scott at: sfraser@frasercomm.com, (401) 647-3444 and follow him @frasercomm on Twitter.

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Presented by a Partnership For Excellence in Event Education.

THE SCHOOL Quality festivals and events are among the most successful tools available to communities, states, regions, and even countries to increase tourism, create powerful and memorable branding and imaging opportunities, bond people together, encourage positive media coverage, enhance economic impact, and add to the quality of lives for those who live there.

On the other hand, a poorly planned, managed and executed event can have a reciprocally opposite effect.

Over time, events themselves have changed; from often informal affairs to spectacular productions, requiring new sets of skills, experience, creativity, financing, planning and leadership. As a result, event management has evolved into a business and an industry, with new demands, challenges and expectations every day; from attendees / participants; sponsors; host communities and a plethora of other partners that the success of any event depends on.

Presented by two of the most respected professional associations in our industry – the International Festivals & Events Association (IFEA) and the National Recreation and Park Association (NRPA) – the Event Management School at Oglebay National Training Center in West Virginia was designed around the concept of bringing new and mid-career industry professionals together with some of the most highlyrespected and experienced professionals in the field, for a comprehensive educational and networking opportunity that will cover the critical basics of successful event management and then put students in an applied-knowledge project environment to test and further what they have learned.

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IFEA’s ie: the business of international events

“No other investment is more important for the board of a festival or special event than to assure that their staff is growing in their professional development. The Event Management School at Oglebay provides our industry with one place for new and mid-management level professionals to receive intensive, comprehensive training in the core competencies of event management, conducted by many top professionals in the field.

It is the equivalent of a full-brain download for those who want to have a well-rounded, working understanding of our profession.”

Bruce L. Erley, CFEE, APR President & CEO Creative Strategies Group

Winter 2014

THE PROGRAM The Event Management School is designed as a two-year continuing education program.

Students live on-site at the Oglebay Resort and National Training Center with their professional peers and instructors during the one-week institute each year, adding a unique one-on-one networking opportunity for everyone. Year One Students at the Event Management School follow an intensive, interactive, classroom pathway through 24 hours of topical training, from a clear definition of event management as a profession through to the final and important evaluation phase of an event. Year Two Students take it up a notch in applied workshop settings and a unique hands-on, event concept design, team project experience that is somewhat of a cross between television’s “The Voice”, “The Apprentice”, and a little “Who Wants to be a Millionaire?”, but with an event focus! Event-expert team advisors help to guide event teams through a week of market research, concept creation/design, budgeting reality checks, and presentation stages of an all-new event concept, for a specially selected city, with a limited-use “Lifeline” contact. Teams will present their completed plans/concepts to a panel of

As a special reward, Event Management School students will enjoy a special fireworks show on our last night to help celebrate a successful week together!

industry leaders and fellow-students on the last day, who will offer critiques, insights and accolades.

Plans/Concepts approved by the expert panel will be offered to the selected city for consideration in their market.

Additionally, all students enrolled in the program will receive one full year’s access to the IFEA’s professional education on-line webinar series (a $1000 value).

THE REWARDS

WHO SHOULD ATTEND

The Event Management School will bestow an Event Management School Diploma to those successfully completing both years of this intensive continuing education program.

For those needing CEU credits, the NRPA will provide 2.0 CEU’s for each completed year.

Additionally, for those desiring to ‘raise the bar’ by registering for the IFEA’s professional certification program (separate registration required), successful completion of the twoyear Event Management School will earn you designation as a ‘Certified Festival & Event Associate’ (CFEA), the first phase toward future attainment of your ‘Certified Festival & Event Executive’ (CFEE) designation, which recognizes an industry-focused combination of top-level experience and continued education.

• Current mid-management event staff looking to broaden their knowledge base while enhancing their professional networks.

• Parks and Recreation managers and staff who produce and/or work with local events.

• Those new to the Event Management field.

• Event Management students looking to strengthen their professional resumes.

• Key event volunteers looking to expand their capabilities.

INSTRUCTORS

Event Management School instructors are selected by the International Festivals & Events Association (IFEA) from among the top event management professionals in our industry today.

THE CURRICULUM The Event Management School first-year curriculum was created with the goal of providing a strong basic understanding and awareness of the multiple, critical components involved in event planning and management.

The second-year curriculum builds upon that first-year knowledge-base by providing more applied workshop-styled opportunities in specific areas, together with a project-based opportunity to help bring the ‘real world’ a little closer to the classroom.

NOTE: The Event Management School curriculum is not targeted at the corporate meeting-planning niche of our industry, but rather the outdoor public event sector.

“The Event Management School at Oglebay has created a vital tool in developing festival and event industry professionals. As any event producer can attest, training new staff often amounts to a “sink or swim” option. To have a venue where personnel can learn, interact and network with industry leaders and instructors will increase professionalism and output multiple-fold.”

Mike Berry, CFEE President & CEO Kentucky Derby Festival “If you were applying to my organization for a job - and I knew that you had completed the IFEA / NRPA Event Management School program – your resume would rise to the top of the pile.”

Jeff Curtis, CEO Portland Rose Festival Foundation

YEAR ONE CLASSES Strong Foundations: Understanding Event Management and How to Build a Successful and Sustainable Event The better an event is produced, the easier it looks. Most people have no understanding of what is involved in producing successful events. Before you begin, this overview will help you to understand what you are getting into and why it is important…to you and to others.

Successful events are far more than an exclamation of “Hey, kids, let’s put on a show!” Proper and knowledgeable event planning and research, understanding your target market, doing a community/city assessment, preparing a feasibility study, learning about city processes, a commitment to quality, and even planning to protect your history from Day One, will all lay the foundation for a successful and sustainable event.

Step One: Business Plans A successful event doesn’t start with the fireworks finale. Behind every exciting, fun-filled event is a well-run business, complete with paperwork, planning meetings, legal obligations to be met, and partnerships to be built. Reputations are often based far-more upon the business side of your event than on who your headline

entertainers are. We’ll teach you what you need to be thinking about.

Arriving at the Bottom-Line: Event Budgeting and Budget Management Every time there’s a good idea, someone brings up the budget! A realistic and informed budget can set the stage for a less stressful and more profitable event. We’ll teach you how to create and use a budget to guide your success.

Putting the ‘Community’ in ‘Community Events’: Building a Strong Volunteer Program Volunteers put the ‘community’ in ‘community events’ and some events have legions of dedicated workers who bring valued skills to the table while holding costs to a minimum. This session will cover critical components of a successful volunteer program, including recruiting, training, management, communications, retention and rewards.

The Basics of Sponsorship Sales and Service There are very few events today that can operate without sponsorship support, but successful sponsorship doesn’t just happen. This session will cover the basics Winter 2014

of sponsorship and successful sponsorship sales, including why sponsors sponsor and how to identify and create a valuable menu of sponsorship benefits/assets for your event. Students will learn about the valuable world of mobile-marketing. And, we’ll cover the critical role of sponsor service; the key to renewing and keeping those all-important sponsor partners that events depend on.

Food & Beverage Programs A well-run food and beverage program can add to both the event experience for attendees and the bottom-line for the event.

This session will cover the components and considerations of a successful on-site food and beverage program.

Merchandise Programs From keepsakes to entry tickets; sponsor promotions to retail outlets; on-line and on-site; a successful merchandise program can drive both memories and revenues.

This session will cover the components and considerations of a successful merchandise program.

Event Administration & Legal Considerations Really? I have to think about that?

Despite being a ‘fun’ industry, there are

IFEA’s ie: the business ofAll international eventsto change.

31 NOTE: sessions are subject

lots of behind-the-scenes ‘t’s’ to be crossed and ‘i’s’ to be dotted; obligations to be met; risks to be avoided/protected against; staffs and boards to be managed and supported; services to be secured and contracts to be signed. We’ll do our best to help you understand and successfully manage those.

Marketing & Media All the planning in the world won’t make for a successful event unless it is properly marketed. This session will talk about how to develop an effective marketing plan and considerations for working with traditional media (television, newspaper and radio… yes, they are still around and still important) as well as today’s new technology options.

Social Media Marketing: Understanding the Landscape, Benefits and Challenges It’s a new and quickly changing world, with Facebook, Twitter, LinkedIn, blogs and many, many more. How do you decide which ones are important and use them as an effective part of your event marketing mix? This session will provide a more indepth look at maximizing new technologies and opportunities.

Operations: From Vision to Reality The expansive area of ‘Operations’ is where the rubber meets the road and this important session will cover multiple areas that can make or break an event: • Event Infrastructure: The infrastructure for many events is a lot like building a small village where the day before there was nothing. Stage, lights, sound, tents, vehicles, decorations, bleachers, food NOTE: All sessions are subject to change.

How’d You Do? Surveys, Evaluations and Economic Impact Studies delivery, trash pick-up, communications, No event is complete until the last survey utilities, parking, et al., we’ll talk about what and evaluation is in. This is the first step in you may need, where to go get it, and lots of all future events and this session will teach insider-tips to remember in the process. you how to do it effectively and • Attendee & Support Services: Whenever cost-effectively. you plan to draw a crowd, you’ve got to be thinking about what their needs may Behind-the-Boom: The Creation of a be: information, medical, lost kids, rest Memorable Fireworks Show areas, ATM’s, restrooms, trash disposal, sigThere is nothing as spectacular as a highnage, communications, safety and security quality fireworks show, but there are many plans; accessibility; and much more. We’ll misperceptions as to what that includes. make sure you don’t forget anything.

Industry professionals will help us to under• Programming, Site-Design and Event Flow: stand what goes into the creation of a truly When did having fun require so much think- memorable fireworks show and what you ing? Like a theme park, effectively planning need to know when planning your own. your event programming, site layout, service accessibility, etc., can ultimately affect sales; The Common World of Events and Cities: safety; friendly-neighbor relationships; and Building Community through Proactive the overall experience for your attendees.

Events Management We’ll cover some important, if not critical, Events, of all kinds, are unique and considerations that will keep your event important tools that provide the communiflowing smoothly. ties that host them with identity, focus and • Environmental Realities: Events can play an value through shared experiences. Because important role through education and as a of that importance, cities and communities role model in protecting the environment. must undertake a proactive partnership apWe’ll touch on a range of ‘Green Reality’ proach to event management, allowing all options that events can consider today. parties to maximize the quality and returns at every level. This session will help you Risk Management: Preparing for the Unex- to understand what a successful event-city pected and Uncontrollable partnership model looks like and how to Preparing for the unexpected and unconachieve that in your own market. trollable is a specialty of event management professionals; and while it can often go Open Forum Roundtable Discussions unnoticed and unused, when needed, these Here’s your chance to ask what we haven’t important preparations cannot be valued answered; to explore what we haven’t expandhighly enough. This session will help you ed upon far enough. Students from both years to plan for potential problems and proper classes are given the opportunity to define a responses; understanding event insurance series of Roundtable discussion topics, onneeds; and how to develop an emergency site, and then join their peers and instructors communications plan for your event. for an evening of networking and learning.

YEAR TWO CLASSES The Application of Project Management to Events Events are the end result of countless details, processes, and tasks, all coming successfully together; but how do you manage all of those priorities and make sure nothing falls between the cracks?

Project Management is an accountable management method using tools and techniques honed over 50 years of use around the world by governments, corporations, and selected events. This session will set the stage for coordinating everything else that follows and provide an important tool for all those attending.

Applied Sponsorship Research Before you start selling your event, you have to first do your homework. This session will instruct students on how to conduct sponsor research, where to look, what to look for and how to use what you find.

Applied Program and Event Development: Designing and Controlling the Event Experience Like a work of art in progress, students will learn how industry professionals research and stay current with a selected city / event market and go from concept to reality, developing and visualizing an event programming plan, taking into account original goals and visions, target audiences, venues and event site flow, hours of operation, and much more, providing a base from which to begin projecting realistic budget and resource needs, and a road map for making changes along the way.

A step beyond planning the event program, the event ‘experience’ for attendees must be also be planned from start to finish, providing for a safe, attractive, fun and easily navigable environment. Whether they are aware of it or not, attendees will be impacted by details covered in this session, such as the following and many others: • Quality and creativity.

• Signage and decorations.

• Transportation and parking.

• Music and ambiance.

• Information and services.

• Customer service.

• Photo stops and character opportunities.

• Participant events.

• Unexpected ‘moments.’

Inside Perspective: What Cities Want from Events and the New Age of Partnership in Municipal Event Management The relationship between cities and events has been evolving (sometimes devolving) for many years. Whether you are creating a new event or continuing to build upon a long-existing one, you must first start from a level of understanding about what cities want from events.

Combining your goals with theirs, you can build a lasting and powerful partnership that will provide exponential benefits for everyone. This session will define some of those key goals and how to achieve them.

Applied Budget Development Working from a draft event program plan, and other desired ‘bells and whistles’ that impact the event ‘experience’, students will learn how to develop an event budget, discussing what to include, how/where to research, fair and realistic estimates, the keeping of formula and assumption notes/ records, use of a budget in managing an event throughout the planning and production process, budget reports, tracking expectations and more.

Applied Sponsorship Proposals and Follow-Up Reports “It’s all in the presentation…” or so goes the old (and true) adage. Students in this session will learn about and practice writing sponsorship proposals and follow-up reports; two points-of-criticalimpact with sponsors.

Advanced Risk Management & Contingency Planning Tragedies like the Boston Marathon bombings, stage collapses, airshow and balloon crashes, crowd panic incidents, drug overdoses, and gang shootings at events serve as stark reminders of the need to plan and prepare for all of the many incidents / possibilities that can / may affect our events on a moment’s notice.

This important session will address what keeps us up at night and the steps that we can take to address those concerns through contingency planning and preparation.

Case Study: The Development of a World Class Programmable Park What would you do if you had the unique opportunity to imagine, design, and program a public park built especially with events in mind? What would you include, who would you partner with, what would your vision, goals and objectives look like? This session will explore a real-life case study where you can compare how your own approaches might mirror or part with the Event Central Branch of the City of Ottawa, Ontario, Canada.

Before-the-Boom: The Creation of a Memorable Fireworks Show Before-the-boom there are many site and safety details to be considered and planned for. Year Two students will have the opportunity for a Behind-the-Scenes visit to the firing site of our Event Management School finale, to help us better understand what goes into the creation of a truly memorable fireworks show and what you need to think about when planning your own.

City Event Concept Project The City Event Concept Project will provide a substantial hands-on experience that is somewhat of a cross between television’s “The Voice”, “The Apprentice”, and a little “Who Wants to be a Millionaire?”, but with an event focus. Event expert team advisors will help to guide event teams through a week of market research, concept creation/ design, budget reality checks, and presentation stages of an all-new event concept, for a specially selected city, with a limited-use “Lifeline” contact. Teams will present their completed plans/concepts to a panel of industry leaders and fellow-students on the last day, who will offer critiques, insights and accolades. Plans/Concepts approved by the expert panel will be offered to the selected city for consideration in their market.

During the week, each team (assigned randomly, to reinforce the reality of an event environment) will participate in the following project steps: • Research and Development of Event Concepts to Serve Market Audience, Needs, Venues, and Capabilities • Research & Development of an Event Programming Plan and Expense Budget • Research and Development of an Event Income Budget, Sources and Sales \Materials • Team Event Concept Presentations (all team members must play a role in the final presentation) The best overall concept presentation team (as chosen by the judging panel) will be immortalized on the Event Management School ‘Oglebay Cup’ trophy, for display in the IFEA World Headquarters throughout the year!

Open Forum Roundtable Discussions Here’s your chance to ask what we haven’t answered; to explore what we haven’t expanded upon far enough.

Students from both years classes are given the opportunity to define a series of Roundtable discussion topics, on-site, and then join their peers and instructors for an evening of networking and learning.

NOTE: All sessions are subject to change.

2015 Event Management School Schedule TIME

Sunday January 18

7:00 a.m.

Monday January 19

Tuesday January 20

Wednesday January 21

Thursday January 22

Breakfast

Breakfast

Breakfast

Breakfast

Educational Sessions

Educational Sessions

Educational Sessions

Educational Sessions

Lunch 11:45 a.m. - 1:15 p.m.

Lunch 11:45 a.m. - 1:15 p.m.

Lunch 11:45 a.m. - 1:15 p.m.

Lunch 11:45 a.m. - 1:15 p.m.

Educational Sessions

Educational Sessions

Educational Sessions

Educational Sessions

Free Evening: Oglebay Shops, Zoo and Festival of Lights Tour Open

Dinner and Evening Roundtable Sessions

Free Evening and / or Group Planning Sessions

7:30 a.m.

8:00 a.m.

8:30 a.m.

9:00 a.m.

9:30 a.m.

Educational Sessions

10:00 a.m.

10:30 a.m.

11:00 a.m.

11:30 a.m.

12:00 p.m.

12:30 p.m.

1:00 p.m.

1:30 p.m.

2:00 p.m.

2:30 p.m.

3:00 p.m.

Educational Sessions

3:30 p.m.

Registration

4:00 p.m.

4:30 p.m.

5:00 p.m.

Orientation

5:30 p.m.

6:00 p.m.

Welcome Reception and Dinner

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IFEA’s ie: the business of international events

Winter 2014

Graduation Reception and Banquet

Presented by a Partnership For Excellence in Event Education.

EMAIL, MAIL OR FAX THIS FORM TO: The National Training Center for Public Facility Managers at Oglebay Resort & Conference Center 465 Lodge Drive, Wheeling, West Virginia 26003

JA N UA RY 18 - 2 2 , 2 0 1 5

Phone: (304) 243-4126 • Fax: (304) 243-4106 E-mail: ntc@oglebay-resort.com

GENERAL INFORMATION.

Full Name: _________________________________________________________________________________________________________________ Title: ______________________________________________________________________________________________________________________ Name (as you wish it to appear on your badge):__________________________________________________________________________________ Company / Agency: _________________________________________________________________________________________________________ Mailing Address:____________________________________________________________________________________________________________ City: _________________________________________________________________ State / Province: _____________________________________ Zip Code: ____________________________________________________________ Country: ____________________________________________ Phone: _______________________________________________________________ Fax: ________________________________________________ Email: _____________________________________________________________________________________________________________________ Arrival Date: __________________________________________________________ Departure Date: ______________________________________ For any special needs of accommodations, please contact Oglebay at (304) 243-4126.

1st Year Student

2nd Year Student

PACKAGE PRICES SINGLE PACKAGE

NRPA / IFEA MEMBER

Tuition Rate

NON-MEMBER

$700.00

$850 .00

Premium Single (Room & Board) (Room & Board package is subject to WV taxes) $1,097.26

$1,097.26

Standard Single (Room & Board (Room & Board package is subject to WV taxes)

$929.26

$929.26

Single Premium Rate (Includes Tuition plus Premium Single Room & Board)

$1,797.26

$1,947.26

Single Standard Rate (Includes Tuition plus Standard Single Room & Board)

$1,629.26

$1,779.26

$160.16

$160.16

Early Arrival Saturday Additional Cost TOTAL amount enclosed: $____________________________

PACKAGE INCLUDES: • 5 Nights Lodging • 4 Buffet Breakfasts • 4 Buffet Lunches • 1 Express Continental on Friday • Sunday Reception & Dinner • Tuesday Reception & Dinner • Thursday Banquet Reception & Dinner • Continous Coffee Breaks • Beverage Tickets

Premium Rooms in the new wing of Wilson Lodge are assigned on a first-come, first-serve basis.

Please visit our website at www.oglebay-resort.com for Premium Room descriptions.

METHOD OF PAYMENT: A check, purchase order or credit card for the full package amount must accompany this form in order to complete enrollment. When paying with a credit card, the package amount will be charged to your card upon receipt of registration. You will receive confirmation from Oglebay Wilson Lodge. NOTE: The balance must be paid prior to arrival.

Check (make check payable to Wheeling Park Commission)

Purchase Order #_____________

VISA

MasterCard

American Express

Discover

Print Cardholder Name: _____________________________________________________________________________________________________ Credit Card Number:________________________________________________________________________________________________________ Expiration Date: _____________________________________________ CVC Security Number: ________ (MC/Visa-3 digit code back) (AMX-4 digit code front) CANCELLATION POLICY: A cancellation fee of $100 will be charged for cancellation at any time up to 30 days prior to the school; 30 to 7 days prior, 50% will be charged; and with 7 days or less notice, no refund will be issued.

FOR MORE INFORMATION: www.NRPA.org 800.626.NRPA (6772) 7-1-1 for speech and hearing impaired

www.IFEA.com +1. 208.433.0950

Winter 2014

www.OGLEBAY-RESORT.com/schools 800.624.6988, ext. 4126

IFEA’s ie: the business of international events

35

RE-INVENT WITH A NEW LENS

BY DIANA MAYHEW

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IFEA’s ie: the business of international events

Winter 2014

KEEPING IT FRESH AND INNOVATIVE

BY DIANA MAYHEW

Many of us face the challenge of our events getting a bit stale and/or attendance dwindling. Events need innovation in order to meet the high expectations of energy, attendance, budget and value.

Change could be required because of internal or external factors: trends changing, the need to start charging admission for the event or costs becoming too high, to name a few. Assessing all opportunities and thinking BIG is the key to re-invention or to fine-tune.

Creative thinking is critical when looking at problems or situations from a fresh perspective that suggests unorthodox solutions (which may be unsettling at first). Creative thinking can be stimulated by brainstorming.

To be successful, it is imperative to encourage and inspire the use of new tools and new thinking in the workplace.

Leadership needs to engage and energize their team and elevate out of the dayto-day strategic planning. Get out of the boardroom when planning with your team and enjoy an informal location. Ask for ideas. Conduct frequent brainstorming sessions.

DEVELOP BEST PRACTICES TO HELP WITH THIS PROCESS EACH YEAR. WHAT IS THE METHODOLOGY FOR PRODUCING FRESH AND INNOVATIVE EVENTS? THE PROCESS Let’s take a brainstorming approach with this topic. Take a step back and generate the questions that will reveal and re-invigorate results. Knowing the questions to ask is imperative. From this process should come “best practices”.

What do we want to achieve? How do we get there? When making these changes how do you assess impact and value?

Here are key questions to consider as you go through this process. Before the big thinking, lay down the ground rules and parameters. Go through a formal process of outlining what is known about the event and organization. What would be defined as future success?

Take a look through a new lens. Recognize event fatigue. Understand the history of the event. Why did it get started and what was the main objective? How has it

evolved? Is it still relevant? What is still working? What is not? Why? Reassess the goals of the organization.

Is the event or program still serving the purposes originally intended? Is the event still serving the stakeholders and community? Are the messaging platforms still relevant? What needs to be considered with change and what it affects? What would happen if this event did not continue? Evaluate existing assets. Explore new ways to frame them in such a way to create new value. Perhaps more focus on revenue streams is required.

What is the decision-making process?

It is important to engage and get “buy in” from leadership and the event team early in the process as changes are considered.

CRITERIA…WHY ARE WE DOING THIS EVENT? Develop criteria to be used consistently when developing new events or deciding on what partnering events makes sense to be associated with or become an “official partnering event.”

What is the Impact?

Does it have a wide reach through the onsite audience, through social media and/or potential media coverage? Is it interesting, entertaining and newsworthy? What should this event accomplish?

What is the expected experience? Could it provide a “WOW”?

What is the Reach?

What is the capacity of the venue? What is the estimated attendance? Does the event have the potential to reach virtual audiences through social media, web streaming or using other technology? Consider the potential interest and coverage from the local, national or international media?

What is the Relevance?

Does the event align with the mission, messaging and brand of the organization and the community it serves?

WHAT IS THE AUDENCE TARGET? What audience does the event currently attract? Is this the right audience? Can the

DEFINITION OF “BRAINSTORMING” The process of generating creative ideas and solutions through intensive and free-wheeling group discussion. Every participant is encouraged to think aloud and gets as many ideas as possible, no matter how outlandish or bizarre. Analysis, discussions or criticism of the aired ideas is allowed only when the brainstorming session is over and evaluation session begins.

Winter 2014

IFEA’s ie: the business of international events

37

audience be expanded? If so, what other target audiences should be considered and what are the best methods to attract those audiences? Is the event engaging with the attendees and larger stakeholder community in innovative ways?

Understand the audience who you are trying to reach and what they care about.

Ask the questions: Who cares? Why do they care? Who should care? Who are the stakeholders?

Understanding your audience’ needs and expectations and learning how to manage those expectations is imperative to the success of the event. What audiences are we not attracting and why? Are there gaps between aging and younger audiences? Has the demographics of the event changed? Why? If you recognize the need to have a particular audience to attend your event, make sure to investigate all the possible ways to reach them... Think outside the box and push traditional boundaries.

How can you secure and incentivize attendance of your key audiences?

Something to consider: Did you know that millennials, the next generation of event goers represents roughly 25% of the US population and $600 billion dollars in spending. Is it important for your event to reach that audience and if so, how do you reach them?

ASSESSING THE OPPORTUNITIES FOR INSPIRATION After you have an understanding of your audience target, transform and shape the event’s look and feel that attract them. How can you create a “WOW” experience from entrance to exit? Visual décor is one of the key components. Create authentic experiences. Invite engagement on-site as well as off-site through efforts such as contests and social media campaigns. How do you create an amazing memory? Foster a sense of community and that your audience is a part of the event, whether you are referring to the attendees, participants, or sponsors.

Does the venue need to be reassessed?

Is it still the right fit? Costs still aligned?

Assessable? How has the city changed… are there other new options for the venue? Add elements of “surprise.” Use signage, visual décor, lighting and unexpected elements that capture your guests’ attention while still directing them from one spot to the other.

What Entertainment Would Best Align with your Audience you Want to Attract?

Develop entertainment features and programs that connect and hold the attention and interest of and move 38

audiences….consider storytelling, music, art, dance, demonstrations, games, etc.

Of course, budget can be a key factor in steering this aspect of the event. Will the audience have a passive role (watching) or active role (hands-on, physical participation)? Do you have a clear understanding of what is a good fit for or what attracts your audience? Do you have thorough research to back this up?

How Can Technology Be Used to Add to the Experience of the Event and Further Engage Your Audience?

Technology can help take events to the next level and reach virtual audiences.

Can technology help you to reach audiences that would attend otherwise? Can you convert that audience into attendees for next year’s events? Use technology onsite to enhance attendees’ experience and sponsorship benefits and to engage your audience as well as to add unique new features to the event.

How Can you Leverage Partnerships to Enhance your Event?

Review current partnerships. Those that have been long-time partners, have they been taken for granted? Have they gotten stale? Are their objectives the same? Do they still align with your event? Include partners in your evaluation and brainstorming sessions, keeping them engaged and informed. How can you reinvigorate partners with fresh collaboration? Stay up-to-date as to what is new with partners and what is new in the community.

Communicating a campaign or theme well in advance (two years, if possible) and inviting partner involvement early will allow time to develop relevant and quality content, identify funding, etc.

Partner activation can be a valuable asset in adding to the experience and as well as engaging the partner or sponsor.

Create activation and amplify what is important. Work with sponsors to incorporate the theme of the event, truly embracing the theme through their activation bringing value to the event without cost to the event or even saving costs.

Can Celebrity Engagement Elevate the Profile of the Event to Give it a Fresh and New Twist?

Consider celebrity engagement beyond a performance. How can you engage a celebrity leading up to or during the event?

Adding celebrity association, as long as it is a celebrity that fits your brand, can add a new twist or excitement. Create a “celebrity ambassador” or spokesperson. Perhaps even create an honor or an award, if relevant. Involve the celebrity in a social media campaign or have them push out a message or endorsement for

IFEA’s ie: the business of international events

Winter 2014

your event. What types of celebrities or high profile officials would fit the event?

Consider entertainers, chefs, writers, government officials among others. Does this celebrity engagement help meet the events objectives and impact desired results? Would this association attract media attention?

What Public Relations “Hooks and Angles” Can Be Developed?

Consider developing campaigns or themes to create that sense of “something new.” What is the key message you would like to convey for this year’s event? Keep the message short, simple and succinct and repeat over and over again through promotional materials, advertising and verbally at the events and through the media.

Considering leveraging an anniversary to spark an event or to tell a story. Does the event, partner, or sponsor have a significant anniversary to weave into the event? Re-introduce new elements, perhaps a “re-launch” as appropriate.

A grassroots program is a highly targeted and efficient and experiential means of engaging prospects and building loyalty with consumers. With an emphasis on integrated, strategy-driven campaigns and a strong execution, your brand becomes a memorable experience.

How are the different demographics being communicated to? Develop and leverage strategic media partners to reach desired targeted audiences Brainstorm “hooks and angles.” What storylines might be of interest to the media? How do you engage the media leading up to and during the event?

HOW DO YOU MEASURE SUCCESS? Begin with the end in mind and work toward that goal. What is your definition of success when the event is over? What do you want people to feel or say about your event after they have experienced it?

What do you want the headlines of an article to read? It is imperative that your event team and stakeholders understand and buy-in to these goals. Document your success. Capture new event features for further future promotion using it to highlight and better sell the event for future developing promotional materials and identifying funding support.

Understand the goals and objectives of sponsors and partners. How did the event align with these objectives? What are the quantifiable metrics and goals? Identify the tools and resources that can help you measure the results such as surveys, economic impact study, media tracking service, to name a few.

OTHER TIPS TO REINFORCE INNOVATION AND CREATIVTY Continue Learning and Keep Informed Understand what resources are available to you and pursue those resources.

Networking with others in your industry and taking advantage of IFEA membership benefits. Get engaged. Experience other similar events. Have a professional development plan. Participate regularly in webinars, seminars, industry expos, etc.

NATIONAL CHERRY BLOSSOM FESTIVAL – PINK TIE PARTY Challenges: After being in existence for 5 years, the Festival’s only fundraising gala had reached its capacity in the current venue and revenue generation had leveled out; it was time for change; costs were high; changing to a larger, more inspiring venue would be even more costly; need to expand outreach to new audiences Solutions: Developed partnerships to provide new prominent venue, services, food and beverage, create new assets and benefits for sponsors and secure funding; budget now directed to enhance the guest experience through program content, entertainment and décor; secured high profile media partner that assisted in reaching “who’s who in Washington” and developed an event “host committee” to assist with outreach and sell tickets; engaged a high-profile celebrity chef as a spokesperson; developed a new “look and brand” unique to this gala event Results: Took the event to the next level; secured tremendous in-kind support; attendance doubled; ticket sales and sponsorship revenue doubled; over 30 prominent DC restaurants participated; generated substantial media buzz; attracted a new “DCsocialite” audience to the event and exposed to the Festival overall; format has been sustainable.

Mine Trends What are the popular, cutting edge, freshest trends? What is going on with the different demographics? How are they being communicated to? Conscious awareness of the market that you are in, on an ongoing basis.

Encourage a Creative Workplace.

Is your staff engaged and inspired and still enjoy working on the event? We all know that in this event-production work environ-

PORTLAND ROSE FESTIVAL – CITY FAIR Challenges: Interest and attendance continued to decline for their prime revenue-generating event that had been in existence for 30 years in an environment of substantial competition (many events held simultaneously throughout the city); the name of the event, “Waterfront Village” did not resonate with the community; key successful component was the “carnival feature” but that was also getting stale; not much attention from the media.

Solutions: Re-evaluated and redirected the audience target to a younger demographic; created more of an urban celebration reflecting Portland’s arts and culture and authentic identity; changed the name of the event to “City Fair”, added a concert series geared toward the audience as well as other new cool and relevant features; treated the event as a new event and implemented a “re-launch campaign”; worked with their carnival partner in bringing a new notable ride to the City Fair that had never been in Portland before; created a media event inviting media for an “inaugural ride”.

Results: Attendance increased (and continues to grow); the featured ride created a “WOW” affect; gained tremendous media buzz; City Fair continues to be an ongoing success and Portland Rose Festival’s number source of revenue.

Winter 2014

ment, you need to “love it to live it.” Continue to coach your team and encourage them to grow. The event requires and deserves a committed passionate team generating fresh ideas and continued energy!

Diana Mayhew is the Director of Events at the Downtown DC BID and President of the National Cherry Blossom Festival. Since she joined the BID more than a decade ago, the Festival, which attracts more than a million visitors, has grown from an all-volunteer organization to one with a full-time staff of seven. Under Diana's leadership, the Festival is now internationally recognized and offers multiple signature events, including Family Day and the Official Opening Ceremony, and generates more than $100 million for the city. An area resident for many years, Diana now lives in Maryland with her husband and has four children.

DC PUBLIC CHARTER BOARD EDUCATIONAL FESTIVAL Challenges: Need to re-vitalize and create alternative sources of funding, attract more sponsors, etc.; minimal resources; needs of the participants were changing; event was not dynamic, was not capturing the attention of the audience for very long; there was a need to attract a more diverse ethnic audience Solutions: Created a multifaceted event adding distinct new features; key source of entertainment came from sponsors’ activation and participant/partner engaging demonstrations; expanded outreach to diverse markets through diverse media partners and bilingual promotional materials; created a more open footprint; charged exhibitor fees; Results: Costs were reduced, quality programming increased; better experience for the attendees and participants; attendees were more engaged and stayed longer; sponsors and partners met their objectives; laid solid foundation for future events.

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39

small town o s r s n h o ip p s HOW TO MAKE THE MOST OF YOUR LIMITED SPONSORS

(and keep them coming back for the next event!)

By Jo Finlay

Feel like you are hitting the same sponsors for funding your events all the time?

Don’t make the age old mistake and simply ask for sponsorship money from a particular business because "the company has always given us money." Just like a dating programme, you need to make a ‘perfect match’ between potential sponsor and event sponsorship package. If you go in with the same generic package, not only will you most probably be served a cold plate of rejection but you also risk ruining the relationship with the business and therefore, potential sponsorship opportunities with future events. The more your sponsorship package says “brand awareness”- in actual fact, the less value it will add.

This rule relates particularly to events in a small town, where the sponsorship opportunities are often limited. Sure, you can look to National or International sponsors but there is always going to be a need for local business to get behind local events. The economic benefits alone support this. (See Appendix 1) The popularity of event sponsorship in small towns has skyrocketed in the past 20 years. The reason for the growth of sponsorship can be attributed to companies looking for alternatives to advertising. Ad messages are always competing to "cut through the clutter" of all the other advertising messages.

However like anytime there is too much of a good thing, sponsorship, began to suffer from its own popularity. With more companies flocking to sponsor various programs and events, the more cluttered and lost they became! Sponsors struggled to get noticed and therefore they struggled for return on 40

investment. Hence the reason for long-term sponsorship - where the target learns to connect the sponsor or product with the event.

This level of Brand Awareness and Exposure is all that much higher and the sponsor is able to Create, Develop and Enhance Credibility with the target.

As an event manager and sponsorship seeker, I’m dealing with business owners who are involved in day-to-day operations.

They know their community and more importantly, their customers. I sometimes feel sorry for these business owners who are continually hit with requests for funding, spot prizes, and so on. Many of these sponsorship seekers and organisations need to consider non-sponsorship forms of revenues such as ticketing, food and beverage, merchandise sales.

As event managers we need to have an understanding of not only the event, but the potential sponsors we are approaching.

They might be convinced of our sales pitch

YEAR

but if the event doesn’t work for them, they aren’t ever going to commit to another event with us again! So this is where the checklist comes in. These are the determining factors to check a business against an event. I call it Sustainable Sponsorship, which in this case, has nothing to do with the environment but more to do with good working relationships with business, this in turns creates a positive base for potential sponsorship within events.

The checklist is all about Stakeholder expectations, which mean placing our sponsors' needs first. Even if we have a gaping big funding hole in our event, always ask the potential sponsor - Why do you sponsor?

The answer will fit into one of the following categories: • Business Development - including sales lead generation • Brand Awareness and Exposure – Create, Develop and Enhance Credibility.

EXPECTED OUT OF TOWN AVERAGE SPEND DIRECT ECONOMIC TOTAL ECONOMIC RETURN ENTRIES ENTRIES* PER VISITOR# RETURN (including multiplier effect X 1.4)+

2014

450

200

126

$25,200

$35,280

2015

700

400

126

$50,400

$70,560

2016

900

500

126

$63,000

$88,200

2017

1000

600

126

$75,600

$105,840

TOTAL

IFEA’s ie: the business of international events

$299,880 Winter 2014

Building corporate image in a cost-effective, relatively easy way • Highly Targeted Marketing – Events have a certain mix of people that are in attendance. Understand your audiences.

Because corporate sponsorship is a marketing medium through which to connect your sponsors with the audiences you reach, you must first understand more about whom your audiences are and why they engage with your organization. What is the nature of your organization’s relationship with them?

• Access to core audience in a way that traditional advertising doesn't deliver • Community Involvement and Giving Back • Distribute Samples or Trial Offers Once we have ascertained what the business is looking to achieve through the sponsorship, we can then check the event against this. Getting a good match between sponsor and event will result in a better result for the sponsor – though not always increased sales! Failed sponsorships result from two common mistakes: assuming that sponsorship visibility at the event results in sales, and treating the event as a shortterm media buying opportunity rather than the start of a long-term connection between product, consumer, and event.

It is vital that the company/sponsor must establish a connection between themselves and what they are sponsoring, that is, to practice "relationship marketing" and not to treat sponsorships as a replacement for advertising. The goal of sponsorships is to show consumers that they have something in common with the sponsors. It is vital that this conversation is covered during the initial stakeholder expectations discussion.

Other reason why sponsorship fails is when the event target misses the sponsors target completely. It is essential that the people who come to the event must be the right target market. Based on the value you have to offer, determine which industries would benefit most from partnering with your event. Which industries serve the audiences you work with? For example a local insurance provider, specialising in health insurance for senior citizens, could not find a more targeted market than the participants of a local Gold Club Tournament. Identifying a specific target market is of course is a little more difficult when developing a new event. When marketing a new event, event managers should develop comprehensive public relations and advertising campaigns articulating the specific image associations the sponsor and event hopes to convey to the target.

Take this example of a successful sponsorship association with a brand new running and walking event consisting of three distances – 5km, 10km and 21.1 kms. The target market was all-encompassing from competitive athletes to people looking for a goal to help them get back to good health, so what better event partner than the local Aquatic Centre and Gymnasium. This partnership was also beneficial in the marketing

of this new event as the Aquatic Centre and Gymnasium was able to promote the event to their members and network of contacts.

This provided a greater pool of potential event entrants, and allowed the event to build a greater brand awareness level within the community than could be done alone.

You’ll be most successful with sponsorship when you develop relationships with potential partners and co-create sponsorship programs that meet your mutual business goals. Engage in trusting, client-focused, discussions that inspire meaningful ways to partner. When sponsorship options are limited, it’s essential to think outside the square and be creative. This means developing opportunities around your sponsors. We have ascertained that what the client wants to achieve, who she/he wants to target – now let’s identify and develop a range of opportunities that are tailor made for the client and the event.

Being creative does not mean reducing the price of your sponsorship packages. Rather than reduce the price, look to increase the value of the packages you offer. You will ideally be able to price your range of sponsorship options from modest to comprehensive. Add value to your sponsorship packages by looking at what you can offer. Articulate value to the sponsor in terms of your ideas and through your unique connection to the target. Use your event theme. Help and support your sponsors to leverage your event theme.

Consider the theme when you are thinking about how exhibitors and sponsors can use it to create interesting content around your event. If you are creative they will be creative too. You may want to consider developing several mini events within your event that can be individually sponsored. For example, if you are putting on a golf event, you might select several special holes to offer for individual sponsorship with some sort of theme or twist. Your event will drive the details of how this looks, but the concept is the same.

There is a good chance that your client is quite creative too. So harness that creativity and focus on value. Your sponsors and prospects bring to your discussions ideas of their own. These ideas have either worked for them in the past, represent their current sponsorship priorities, or reflect needs and objectives that, when combined with your opportunity, generate new ideas that can be executed now.

Add value to your sponsorships, Use social media. If your organization is active on social media and provides value on a regular basis, you will likely have a strong following on networks like Twitter, Facebook, and in your LinkedIn groups.

Consider designing sponsorship packages that include thoughtful promotion of their companies via your social media profiles.

Events have to offer much more than logo placement. Focus on real value, not vanity value. Perhaps the most effective way that event managers can add value to their sponsorship offers is to include mechaWinter 2014

nisms for sponsors to sell their products and services to people and businesses within the event manager’s connections and networks. This allows the sponsor, even if it does no other measurement, to have a specific return on investment (ROI) metric it can look to following the sponsorship.

Relationships are everything – especially in a small town where word travels very fast! If you let a sponsor down and do not deliver on your side of the bargain, you can probably forget about considering that sponsors as a prospect again! Continue to be a trusted partner through the fulfilment of your sponsor obligations. Focus on delivering excellent service driven by your sponsors’ objectives. Build relationships that grow. Stay alert to new ideas and opportunities to assist your sponsors succeed in sponsorship. Always evaluate and improve the facets of the sponsorship program, working to deepen the ties and strengthen your relationships over time. For a long time, sponsorship meant contributing funds and then getting your logo displayed on some of the marketing material.

Keep your sponsorships fresh and exciting; don’t just roll out the same old because that’s what has always been done.

Further Reading: Top 10 Reasons Why Sponsoring an Event is a Brilliant Marketing Strategy http://www.examiner.com/article/top-10-reasons-why-sponsoring-an-event-is-a-brilliantmarketing-strategy How you can build high-impact sponsorship for small businesses Jim McEwan http://www.charityinfo.ca/ articles/Building-high-impact-sponsorship-for-small-businesses Discovering the sponsorship that's just right for both of you - Janet Gadeski http://www.charityinfo.ca/articles/discovering-sponsorship 10 Steps to Sponsorship Success by Gail S. Bower http://www.swprn.com/blog/10steps-to-sponsorship-success-by-gail-s-bower/ http://www.referenceforbusiness.com/encyclopedia/Con-Cos/Corporate-Sponsorship. html#ixzz33zwCvE2a Jo Finlay has a wealth of event management experience and runs an event management business in Whakatane, New Zealand. Jo is passionate about events and bringing a variety of different experiences to the region. Having worked with both small and large events, Jo offers professional event management services with a high degree of customer satisfaction. Jo prides herself in adding the ‘wow’ factor to events and has the ability to make event management look effortless!

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EMAIL PROTOCOLS AND BEST PRACTICES

By Steve McClatchy

If you receive an email asking you a question, answer the question. If the email contains more than one question, answer each question. If an answer is unavailable or pending, or if you need more time to do research, provide that update. Don't just answer one of the questions and ignore the others.

Do not overuse Reply to All. In the spirit of reducing the amount of emails each person in the company receives on a daily basis, consider whether or not all of the recipients of the email need to view your reply.

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When requesting a person's time, check their calendar first and then send a Meeting Request, not an email. Be sure to include in the Meeting Request all relevant information they may need to be an informed participant. This saves time as well as improves the quality of the meeting.

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If you are copied on an email it is not necessary that you reply. If you wish a recipient to reply to your email, place their name in the To line.

Do not forward chain letters, jokes, unprofessional videos or inappropriate stories to or from a professional email address. If at all, this type of communication is better suited for personal email addresses.

Use the Out of Office Assistant to communicate when you will not be available for periods longer than four hours or if you will not be able to respond until the next business day.

Email and texting are not the same thing. Emails should have proper spelling, grammar & punctuation where as in texting and social networking updates it has become acceptable to use quick-text language and abbreviations when communicating with personal contacts. If texting a business contact, maintain proper spelling and grammar.

Email is not private and you are responsible for the content of every email you send and receive. Never email when you are tired, mad, upset or if your communication contains an emotional component.

Moreover, there is a permanent record of every email you send and receive. Email sent to or from a company email address is owned by the company, not the employee.

Meeting Requests should be replied to immediately when possible and within 24 hours at the most.

48 hour and 72 hour responses should be the exception not the rule. Conference call lines and meeting rooms need to be reserved. Showing up on a conference call or for a meeting you have not replied to is not acceptable.

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Emails and replies should contain a signature with your contact information. This will eliminate wasted time looking for this information if your recipient needs to contact you.

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Consider how long it will take the recipient of your email to respond by email. If you don't need a response immediately communicate the amount of time the recipient has to respond. ("I need this by the end of the day" or "I need this by the end of Thursday at the latest.") If the response is information-related and a response will take longer than 15 minutes, consider making a phone call or scheduling a meeting.

Subject lines are important. Identify your objective or the content of your email in your subject line.

If and/or when the content of your communication changes, change the subject line to reflect it.

The purpose of each email you send is either to request information, to share information, to request a decision that needs to be made, to request an appointment or to make a task request. If you need a decision or your recipient to do something, reflect that in your subject line. If you need an appointment, send a Meeting Request or if the information you need is lengthy, consider making a phone call instead.

Emails and replies should contain a signature with your contact information. This will eliminate wasted time looking for this information if your recipient needs to contact you.

When you communicate a problem to someone and you copy others, be sure to copy everyone in the original message when the problem is resolved.

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When you communicate a problem to someone and you copy others, be sure to copy everyone in the original message when the problem is resolved.

Before sending an email, decide if an email is the right way to communicate your message.

Subject lines are important. Identify your objective or the content of your email in your subject line. If and/ or when the content of your communication changes, change the subject line to reflect it.

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You are more likely to get someone in person when you call their cell, however, reception can make it difficult to hear and calls are more likely to be dropped. If clarity is an issue, you can text someone a message to call you when they reach a land line so you can have a clear discussion.

Email - Does your message contain facts such as dates, statistics or other information that might need to be referenced later? This would be better in an email that your recipient can refer to as needed. When you consider how long it takes to address an email, type a subject line, think through and type your message, review your message, make changes and edit, most people are typing, on average, approximately 5 to 10 words per minute in email. Is this the best medium for your communication?

Most people text approximately 10 to 20 words per minute.

Voice mail- Does your message require a lengthy or complex explanation? This might be better or more clearly communicated through voice mail or a phone call as opposed to email in which tone and intention can sometimes be misunderstood. Most people speak approximately 150-250 words per minute.

You are more likely to get voice mail when you call someone's land line. If you can wait for a reply leave a land line voice mail. If you are going to hang up and call their cell, don't leave a message on the land line, leave it on their cell.

HERE ARE SOME FACTS TO CONSIDER: Following these protocols and best practices can help reduce the number of emails you receive and increase your speed and productivity. Feel free to share these ideas with your immediate work group.

I hope this helps in your ongoing effort to receive outstanding results.

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Waiting to grab someone in the hallway leaves execution to chance.

Most people Instant Message approximately 30 to 40 words per minute.

Steve McClatchy is the president of Alleer Training & Consulting a provider of training, consulting and speaking services in the areas of Consultative Selling, Time Management and Leadership.

If you would like to learn more about the ways Alleer can be a resource to your organization email Steve.McClatchy@ Alleer.com, call 1-800-860-1171 or visit www.alleer.com.

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FAIRS, FESTIVALS AND EVENTS MULTI-COVERAGE SOCIAL INTERACTION PLATFORMS

By Fabian Obregon

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In today’s world, the event industry has become a giant platform that reaches and involves many areas of human activity; business, tourism, religion, government, commerce, politics, sports, education, research, entertainment, and more.

In all fields, as human needs grow and become more complex, humanity itself seeks to find solutions, however, nowadays, these solutions require more effort, creativity and innovation on the basis of two factors; the large number of options generated by the entities that make up the current market and the continuous change of the conditions under which the needs are generated. The events industry in the world is no stranger to these circumstances.

Since the beginning of mankind, man by nature, has gathered around his fellows, however, undeniably the primary cluster unit was family and from it similar groups were generated based on needs and interests, which various rituals began to be held, and this is where we find the first group holiday celebrations.

Similarly, many years ago, the need to exchange products and goods generated the conditions for creating temporary markets in certain villages that facilitated the meeting of different communities, so that we start from bartering to more elaborate and complex commercial transactions involving currency and loans. At the same time, markets are beginning to offer a service that we now call entertainment, and it was nothing but samples of cultural expressions of communities and people gathered there.

The same need for entertainment that I mention in the old markets, evolved and refined into what we now have around us, Fairs, Festivals and Events (FFEs) that integrate expressions of cultural, economic and trade fields, among others, that seek to meet the needs of specific market segments. FFEs have become multi-coverage social interaction platforms.

They are multi-platform coverage due to the engagement of different segments of human interest and as they are based on linking people with behaviors and expressions created by the same human

being individually and collectively, they generate group interaction as a society.

Today marketing has played a very important role in understanding market segmentation and the conditions in which the individuals who make this market segment behave. FFEs organizers should, in primary form, fully understand and identify the market segments to which they target, as well as behavior and habits to design appropriate solutions to the needs that have been previously identified.

By achieving this, the organizers of FFEs minimize investment risk involved in making any event and thus seek to maximize their results, which are usually measured in monetary units. However, if the success of the FFEs is measured only in terms of the impact and economic development generated, then the FFEs will be away from being a multi-coverage social interaction platforms.

The great challenge for the FFEs is encouraging the creation of social development as well as economic development within the groups of people with whom they interact, beginning with members of the organizing committee of the FFEs, to all people and companies that provide products or services to the FFEs, such as artistic groups, equipment suppliers, vendors, contractors, etc. up to the attendees, whether local, foreign as well as members of the community in which FFEs take place and that are not necessarily attendees.

According to the United Nations Program for Development (UNDP), "the development of a country can not be understood from the unique perspective of economic growth. The ultimate purpose of development is found in every one of its inhabitants and the possibilities they have to choose a life in which they can fully realize their potential as human beings.

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Human development is the freedom enjoyed by individuals to choose between different options and ways of life. The key factors that allow people to be free in that sense, is the possibility of achieving a long and healthy life, to acquire valuable knowledge individually and socially, and have the opportunity to obtain the necessary resources to enjoy a decent standard of living.

At the core of the concept of human development, are the people and their opportunities, not wealth, income earned, or the goods and services they consume."

Not all FFEs’ results are equally successful in generation of economic development, however, for many of them its strength may lie in the large impact on human development.

Generally speaking, the FFEs that have higher brand awareness and positioning among people (Top of Mind), are those which in their evolution have become a tourism product of high impact, whether regional, national or international (tourism traditionally is measured with indicators of economic development), examples of these are the music festivals like Lolapalooza, Coachella, Rock in Rio, Pinkpop Festival as well as traditional festivals like Oktoberfest, San Fermin, Mardi Gras and Holifestival. The FFEs of high tourism impact are often very attractive to some people because they involve high exposure and media coverage.

However, there are other FFEs that are not designed as touristic attractions, but which originate and are sustained in social (community) and human (individuals) development, which strengthen the fabric of society, promote tolerance, acceptance of different expressions and social behavior, improving the level of education and knowledge of community members as well as promoting the value of Intangible Cultural Heritage (ICH).

The United Nations Educational, Scientific and Cultural Organization (UNESCO), define the Intangible Cultural Heritage (ICH), which is also known as “living heritage” as "the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith – that communities, groups and in some cases, individuals recognize as part of their cultural heritage."

The ICH is manifested particularly in the following areas: • Oral traditions and expressions, including language • Performing arts • Social practices, rituals and festive events • Knowledge and practices concerning nature and the universe • Traditional craftsmanship.

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These type of FFEs usually do not have much "glamour" and thus fail to capture the massive public and/or media attention, they are commonly focused on a very particular and identified target audience and present growth trends much lower than the touristic ones.

When the FFEs really work as Multi-coverage Social Interaction Platforms, they are great tools to help strengthen human development, which is why the International Festivals and Events Association (IFEA) defines its vision and mission as: "A united Global Industry, touching lives in a positive way through the celebration."

"To inspire and enable all those in our industry to realize their dreams, build communities and have sustained success through celebration."

It is very important to highlight "sustained success through celebration" as like any other service in modern markets, FFEs involve professional work and careful planning and execution to get the right resources, both monetary and non-monetary, to sustain the event in the long term. In other words, not just for being FFEs that promote human development should be unlinked to the business areas that can enable them to obtain and generate resources to ensure its permanence and sustainability.

To the extent that the FFEs are economically sustainable, to that extent they can continue to generate human and social development, as otherwise its lifetime will be dependent on the existing seasonal interest in organizations, whether public or private.

There are some international institutions that promote the FFEs as a fundamental part of human development, here I highlight only two of them: International Council of Organizations of Folklore Festivals and Folk Arts (CIOFF) An instance that is focused since 1970 on strengthening human development through the preservation and promotion of the ICH through dance, music, songs, games, rituals, ceremonies, customs, traditional crafts, costumes and food.

This Council is an international non-governmental organization (NGO), which at the last meeting of UNESCO in Paris, was officially accredited by the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage.

Every four years the flagship event of CIOFF takes place, CIOFF World Folkloriada® is a global festival which aims to bring together people and cultures from all over the world, promoting understanding and appreciation of each other’s 48

cultures, strengthening friendship and solidarity between people and celebrating national cultural heritage of each participating Nation. The latest edition of this event was held in October 2012 in the city of South Korea Anseong and during its World Congress, it was announced that next Folkloriada®, will take place in Zacatecas, Mexico in July 2016. For more information on CIOFF: www.cioff.org International Exhibition Bureau (BIE) An entity best known for its events rather than by its name and has one of the most important roles in international events. It is headquartered in Paris, France and was created by an International Convention held in 1928 in the same city. The BIE is the intergovernmental organization in charge of overseeing the calendar, the bidding, the selection, and the organization of World and International Expos.

The Paris Convention of 1928 sets out the rights and responsibilities of organizers and participants at World and International Expos and the BIE’s role is to oversee and ensure that these are met, therefore it provides a regulatory framework for countries, international organizations, civil society groups, corporations and citizens involved.

BIE's mission is to maintain the integrity and quality of Expos so that they may continue to educate the public and promote innovation in the service of human progress. Expos must be able to not only provide a benchmark for the human progress made in a given domain but also propose a roadmap for the way forward – and the BIE works to ensure this.

Article 1 of the 1928 Paris Convention defines Exhibition as: "An exhibition is a display which, whatever its title, has as its principal purpose the education of the public: it may exhibit the means at man’s disposal for meeting the needs of civilisation, or demonstrate the progress achieved in one or more branches of human endeavor, or show prospects for the future."

World and International Exhibitions differ primarily in the size of the venue, the event duration and scope of the topic.

The characteristics of these are presented in the following table.

Currently there have been scheduled editions of the World Exhibition 2015 to be held in the city of Milan, Italy and in Dubai, UAE in 2020, while the only International Exhibition scheduled, so far, is in 2017 and it will take place in the city of Astana in Kazakhstan.

International Horticultural Expos are a type of International Exhibitions and they are held under the joint auspices of

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the BIE and the AIPH (the International Association of Horticultural Producers).

The Horticultural Expos are recognized by the BIE after the following steps are taken: the project is examined and approved by the AIPH; the government of the country in which the exhibition would be held submits a request for recognition to the BIE, and the BIE General Assembly approves the project’s general regulations.

These events can last a minimum of 3 months and a maximum of 6 months and can take place every 2 years in different countries, and once a decade in the same country and the size of the site must be over 50 hectares.

For more information on the International Exhibitions Bureau: www.bie-paris. org Context of Mexico in FFEs The reality of Mexico regarding the FFEs is not unrelated to the global environment, there has recently been an important growth in terms of the number of events, however much work is needed to be done to raise people responsible for the organization of FFEs consciousness about the need to foster knowledge, education, training and developing their skills necessary to have a professional event industry with the best practices worldwide.

Even though there are Mexican events in different areas, such as: business, tourism, religion, government, commerce, politics, sports, education, research, entertainment, made by the private and public sector, there is no national policy to promote and improve the quality with professionalization of this activity. Currently the main organizer of FFEs in Mexico is the public sector (Government).

Opposite to the Meeting Industry which covers the Congresses, Conventions, Expositions and Incentive trips, the FFEs do not have any entity, institution or association that groups the needs and interests related to organizers, there is a lack of a representative body for this sector.

There are, mainly, two federal government agencies that provide support to the FFEs, the National Council for Culture and the Arts (CONACULTA) and the Mexico Tourism Board (CPTM).

CONACULTA was created to coordinate cultural and artistic policies, organizations, and agencies. Likewise, it is dedicated to promoting, supporting, and sponsoring events that foster culture and the arts. Through its General Cultural Outreach Division website, it makes calls to support cultural and arts festivals. www.conaculta.gob.mx / convocatorias The CPTM mission is to promote, both integrally and competitively, Mexico’s

INTERNATIONAL REGISTERED EXHIBITIONS

INTERNATIONAL RECOGNISED EXHIBITIONS

CATEGORY

World Exhibitions

International Exhibitions

FREQUENCY

Every 5 years

Take place between two world expos

6 months

3 months

Countries, Intl. Organizations, NGOs, corporations and other institutions.

Countries, Intl. Organizations, NGOs, corporations and other institutions.

Chosen theme concerns the whole of humanity

Must be specific, specialized.

Participants build their own pavilions.

Participants customized pavilions that are built by the organizer.

Unlimited

Maximum of 25 hectares

MAXIMUM LENGTH PARTICIPATION THEME CONSTRUCTION SITIE

products and destinations, in the national and international markets, so those FFEs that meet the profile needed to generate tourism, can get support for promotion. www. cptm.com.mx Each of the above entities mentioned have their own guidelines and operating rules for granting support while taking care of the fulfillment of the objectives that each has defined for its activity.

State and municipal governments also generate programs that support the FFEs, however the criteria varies depending on location and interests of each place.

In the field of FFEs in Mexico, there are important and recognized examples of Dance, Music, Film, Food and Popular Expressions, and each year more are added to the list, however the rate of consolidation for the new events is not very high.

One of the most renowned art festivals in Mexico is the International Cervantes Festival (FIC), which is held annually in the city of Guanajuato in the month of October and includes a multidisciplinary program of theater, dance, music and other cultural expressions. www. festivalcervantino.gob.mx Other Important Cultural Festivals in Mexico May Cultural Festival Held annually in Guadalajara, Jalisco for 23 days and covers the fields of music, dance, art exhibitions and street entertainment in different forums of the city. www.festivaldemayo.org International Festival of the Mayan Culture Takes place in Merida, Yucatan for 18 days from the middle of October. It includes the implementation and development of ongoing activities to promote the study, dissemination and expression of the surviving Mayan culture from various forms of knowledge: visual and performing arts, literature, mu-

sic, cuisine, science, ecology and others. www. ficmaya.com Cumbre Tajin A 5-day event in March that aims to disseminate, preserve and enhance the legacy of the Totonac culture, which every year around the spring equinox brings ancient rituals, music, reflection, dance, healing and multiple expressions of artistic creation and ritual. www.cumbretajin.com Additionally, Fairs are deeply rooted in Mexican customs, so practically a festivity of this kind takes place in every city and town. There are fairs of all sizes and length, some retain very traditional formats and others have evolved to integrate concepts that traditionally only were found in art festivals.

The most recognized Mexican fairs are in the cities of León and Aguascalientes, but cities like Guadalajara, San Luis Potosi, Durango, Puebla and Merida are also highlight for the content offered, the size of the fairgrounds or the number of fairgoers they attract.

La Feria de Leon A 26-day event that takes place in the month of January and Aguascalientes Fair, better known as Feria de San Marcos starts in April and ends in May with a duration of 23 days. Both have shows for different targets; nightlife, livestock exhibits, amusement rides, restaurants, shows and more. Both Fairs have achieved a very significant development in their organization which has ensured sustained growth for several years.

To learn more about the above fairs: • Feria de León León, Gto. www.ferialeon.org • Feria de San Marcos Aguascalientes, Ags. www.feriadesanmarcos.gob.mx Winter 2014

• Fiestas de Octubre Guadalajara, Jal. www.fiestasdeoctubre.com.mx • Feria Nacional Potosina San Luis Potosí, SLP www.fenapo.mx • Feria Nacional de Durango Durango, Dgo. www.ferianacionaldurango.gob.mx • Fair de Merida Merida, Yuc. www.feriayucatan.gob.mx • Feria de Puebla Puebla, Pue. www.feriapuebla.mx To conclude, I can tell that the Fairs, Festivals and Events in Mexico are going forward as multi-coverage social interaction platforms, however there is still much potential for development of this sector in Mexico and we must not only create new events, but improve the management and professionalization to achieve better quality in the impact of social, human, economic, tourist and cultural development.

Fabian Obregon graduated in Business Management and started to actively participate in the organization of events when he coordinated trade missions at Mexican Pavilions at International Trade Fairs and abroad.

He was the General Director of Leon Fairgrounds and its State Fair which attracted 5 million attendees during its 26 days. He is currently the cofounder and partner of Luden-e, a company focused on providing consulting and advice to event organizers, as well as the organization of the Specialized Congress for Fairs, Festivals and Events in Mexico.

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INTEGRATING ONLINE TOOLS INTO EVENT MANAGEMENT

By Jill McCullough

How do you organize your time and the people you interact with every day?

Do you bury your life in post-it notes, write long lists of ‘to-do's’ or have a white board in your office that is always getting erased by others? Whatever the case, as an event planner, you need organization and there are numerous ways to use technology to help simplify what we do.

The first question you must ask is why do we need to be organized? As event planners, organization can be the key to our success and the ticket to a more stress free life!

Yes, some people were blessed with the ability to keep even the smallest of items organized. We all know those people born with a label maker in one hand a checklist in the other. For most of us, this is not the case, but with the ease and availability of technology at our fingertips, we have no excuse! Here we will outline some great tips you can implement into your planning process to help you become a more organized professional!

As event planners there are five main items we need to keep organized: 1. Contacts 2. Schedules 3. Notes 4. Data 5. Goals 50

Technology has provided us with programs, applications and opportunities to become organized in these five areas. The programs we will highlight in this article include: 1. Contacts *Microsoft Outlook 2. Schedules *Microsoft Outlook 3. Notes *Microsoft One Note 4. Data *Google Drive 5. Goals *LeanKit Contacts: Contacts are the people you meet each and every day. It is important to store valuable information about your contacts, not simply a name and phone number. In the event planning world, valued contacts make all the difference! I use Microsoft Outlook to manage my contacts. I choose to use this program because when using the contact form you not only have a place to store the necessities about the person (phone number, email, fax etc…), but you also have the opportunity to note valuable information about the person as well. These notes may take the form of personal attributes about the person to help you remember them such as “redhead with a big smile.” You can also use this feature to record notes about of relationship you have with the person such as “my boss’s sister that works for Kensington.” Keeping good notes about your

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contacts allows you to rejuvenate relationships with people you may see only once or twice a year. You can access this from your Microsoft Outlook account under the contacts section. Best of all, adding notes to the contacts form allows you to add searchable information to their profile.

So the next time you are looking for "the redhead with a big smile," you can search for it and find it much quicker!

Schedules: A wise person once said, what you value in life should be scheduled on your calendar. Not that all of life needs to be “penciled in,” but those things that are important to you should be written down. I understand the element of surprise and spontaneous experiences are necessary for life, but those things that you plan for should be just that, planned for and scheduled onto your calendar. The first step in organizing your schedule is to choose a method of organization that works for your life. Secondly, you need to stick to this method ALWAYS. Organizing your time helps you to complete the things you wish to do each day. Organization with your schedule allows you to be prepared as a professional while being fully dedicated to your personal life. Scheduling in those things that matter most to you brings peace and purpose in life.

As event planners, organization can be the key to our success and the ticket to a more stress free life!

Notes: As a graduate student, I was introduced to a program called Microsoft One Note, and I have been in love ever since!

If you have not had the opportunity to open this program on your computer, you should take the time to do so. One Note is the ultimate notebook! No more thumbing through filing cabinets or searching your computer for the copy of the flyer you needed, the audio recording taking from the council meeting or even the photo of the event set-up from last year. Now you can organize all of this with One Note! One Note allows you to input all forms of information including photos, text, pdf’s, audio recording and videos! Best of all, all the items featured in your notebook are searchable, including the words you speak in an audio recording, video recording or even on a photo. If there is text, it is searchable! All your notes from events can be placed into your notebook and can be organized as deeply as you wish. From the smallest post-it note to a twenty page contract, all of these items can be stored and searched in one location, in your Microsoft One Note Notebook.

One note is a very easy program to learn to use as well. There is a great 10 minute YouTube video that does complete tutorial of this program. You will also find yourself becoming more and more eco-friendly because of the reduction of paper you will be printing and storing.

Data: As an event coordinator it is crucial to keep your data organized for a variety of reasons. This data can vary from people admitted to your event, to those registered as volunteers. With so much data coming in and needing to be digested and sent back out, Google Drive provides a way to do this…and it’s free!

Google Drive is an internet based program that can be accessed via google. To set up an account, all you need to do is register with Gmail. There are many applications you can use that are comparable to the Microsoft Office programs, but the newest and most useable for event planners in the "Forms" section. In this section, you can create all types of forms and request specific answer methods. For example, you can ask a simple question that requires a ‘yes/no’ answer or you can ask other questions that require an answer of a paragraph or more. Once you have created a form, google creates three versions of your form.

The first is the one you created, the second is the "live" version of your form, or the version those filling out the form will see, and the third version is the "responses" version of your form. The "live" version of

your form is found on the internet and is, therefore, a link that can be placed in emails or on a website very easily.

For an event that I organized in 2014, I used all my registration forms as google docs. From those applying to be a vendor to those registering to be a volunteer, I collected all their information on the google forms. This was very simple and easy to manage. The “response” form for the document updates automatically, so you can keep track of the data in real time. As the editor of the form, you can also edit the form at any time during the gathering of data. For example, I used this form to gather the information for a golf tournament we were hosting, and I had a team call in and tell us two of their players on the team had changed. I simply opened the "responses" form of the document and made the changes while on the phone with them. When it came time that the registration was closed, I simply closed the document and exported the data into an excel sheet. In addition, all google documents can be shared, viewed or edited by anyone you wish to add to the form. For example, you may be working on a project with another individual and you both need to be privy to the same data.

Google Drive allows you to both view the data in real time and have the capability to edit the information if necessary.

Some of the purposes I have used google drive for as an event planner includes: • Collecting registrations for 3on3 tournaments, mud volleyball tournaments, golf tournaments • Collecting entertainer applications for music festival • Vendor applications • RSVP’s for Company Dinner • 5K Race registrations • Parade applications • Talent Show registrations …And the list continues to grow! This program too is very user friendly, but there are also MANY tutorials available for free on YouTube.

Goals: Les Brown once said, “A goal is never accomplishable until it is written down.” Therefore, we must have a good way to write down and track our goals as we move through the different stages of them. In my search for a better way to track my goals I found a free program management application online. As event planners, there are times and places to get the things done we need to do. Whether we are running a team of professionals or working on producing an event on our own, it is Winter 2014

important to know what your goals are and how you plan to accomplish them. The program I have found that will do just that is called "LeanKit". Lean kit is a large whiteboard that can be edited, saved and shared in a variety of ways. Best of all, when you are finished with completing all the tasks on your board, you don't wipe it all away; you save that board and start a new one.

This feature makes tracking your goals easier as time moves on, especially for those who do annual events. As the planner for a previous event comes up again, all you do is open up the goal board from the previous year and start it again. Lean kit allows you to create columns that can be sliced by rows. Then in each of these columns you create and place cards in those columns.

The cards can also be color coordinated to help you know what items you are working on when. For example, the columns I used were titled: "To Do," "Doing tomorrow," "Doing today" & "Completed". I began by creating cards for each and every task I know I needed to accomplish to plan form, implement and complete the upcoming event I was planning. I spent time at the beginning outlining the exact items I needed to accomplish effectively to complete the job. As these items were moved from one column to another, I thoroughly enjoyed the feeling of success that came along with it as well! Each time a card was moved from one column to the next, I felt motivated to continue moving forward.

Using this application to help me track my day to day goals allowed me strategically to complete the big goal of producing an event for thousands of people!

In addition to using Lean kit to help accomplish my professional goals, I also use it to track my personal goals. This program is free to sign-up for online and on the website you can watch a short tutorial and sign up for a free webinar that delves into the finer details of what the application can offer.

Overall I have found that embracing the opportunities technology has offered me is not only providing me with a more effective way of using my time as a professional, but it has also helped me to grow as an individual.

Jill McCullough and is from the great state of Utah! She started her professional career as an elementary school teacher and has been working in special events for the past two years. She is currently in graduate school working towards her MBA and hopes to establish her own business in the next five-ten years. One of her biggest dreams in life is to become a pilot and fly herself and her family all over the world to visit all her IFEA friends!

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Tips to Being and Staying Better Organized at Work

By Anna Miller Having trouble paying attention to your computer screen or task at hand? It’s difficult for employees to get organized at the office or even at home, when the workplace is so demanding; especially when you have a lot on your mind and your to-do list is a mile long. You are given so many projects and have deadlines for everything, making it hard to be able to take a step back and come up with the right system for getting things done. If you don’t get organized, you will end up forgetting about things and it will end up making you look poorly. When your work life is organized, you’re able to be more productive. But getting organized at work takes time and energy…papers pile up, meetings eat up large chunks of your day and phone calls, co-workers and e-mail 52

messages all compete for your time.

Here are some tips for getting organized at work.

When getting started it’s important to keep in mind that not all methods of being and staying organized work for everybody. The one that works best for you will depend on a number of factors, including your work style and the demands of your job as well as your personal life.

Below, I’ll outline ways that you can get your workplace and yourself organized for optimal working conditions.

Chuck Your Junk Purging is the best starting point to getting organized. When starting, think about whether you’ve needed something within the last year. Make a toss pile, a

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store pile and a to-do pile. That magazine you’ve been saving for years because you just know you’ll get around to reading it? Toss it. The budget report from 2008?

Store it, but only one copy. A printout of the presentation you’re giving this week?

Keep it on hand.

Don’t be afraid to use the recycling bin/trash basket. Organizing unnecessary items is wasted energy and takes time. It is amazing how much more in control you’ll feel just by ridding yourself of outdated articles you’d like to read someday, or countless meeting notes from which action items have already been completed. Clutter can distract you, weigh you down, and in general it invites chaos into your life. Often times, however, tackling clutter can seem an overwhelming task if

you don’t know where or how to start. By devoting a little of your time to getting rid of the junk and keeping things relatively clutter-free, you’ll reap the rewards of a pleasing workplace, reduced stress and a more organized and productive work experience.

De-Clutter Your Desk Top A great way to begin ridding yourself of junk is to start small. If you don’t know where to begin – start with your desk.

Clear everything off the top of it (if you’re really ambitious then take everything out of the drawers too). Assemble the items in piles on the floor. Clean and wipe down your desk, you’ll be amazed and happy at how pretty and clean it looks.

Sort through all the stuff that was both in and on your desk. Toss out as much as possible. Once you’ve weeded things out, it’s time to sort through the remains. Set up a basic filing system with a folder or binder for each project, client or event.

Keep your office supplies and other items in a designated drawer. Designate a spot for every item you’ve decided to keep and make sure that it stays there, or goes back there when you’re done using it. Keep flat surfaces clear, and have an inbox for all incoming papers. When the papers come in, sort them each day – toss, delegate, take action or file. All you want on the surface of your desk is your phone, computer, inbox and maybe a special photo in addition to the documents you are working with at the moment. You’ll be less distracted by the many items on your desk and will be able to stay better focused on the task at hand.

Organize Your Paperwork The most important part of organizing your paperwork is to create a filing system. To do so you’ll need to decide what’s important to keep and what you can throw away. Once you’ve done that, it’s time to create a filing system that works for you, one that will help you quickly find documents you need to access. Next you’ll want to decide how you’ll organize your paperwork. Whatever it is, it must make sense for you and it should be something you’ll keep up with. A few ways to organize your paperwork are: • Alphabetical: This system is best when most of your files are going to be names of clients, patients or customers.

• Subject, Project or Event: Most file systems are organized this way.

• Numerical or Chronological: This is best when your files consist mainly of numbered or dated material.

Once you’ve determined which system works best for you, you’ll want to determine how you’d like to file your paperwork. You can do so with binders,

manila folders, hanging folders, etc. Then it’s time to begin sorting and filing away papers. Chances are you will have to add categories along the way, and you may look back and realize that you could have combined some of your categories.

I personally use binders and categorize each by the event I work on throughout a given year. Within each binder I create tabs for different categories within that event (i.e. Meeting Notes, Operations, Budget, etc.).

If it is difficult for you to figure out a simple, effective filing system, consider talking with someone at work that seems to have created a good one. After you’ve set up your filing system – keep up with it. If something doesn’t have a place – make one. Then simply put things back where they belong when you have finished using them. It’s simple and effective, but hard at first to do consistently until you form the habit. The single, simplest thing I do to stay organized is to put whatever tool, item, report, etc. away immediately after using it. I always know where everything and anything is so I never waste time looking for something. I could tell a stranger where to find something in my office.

Manage Communications Managing all forms of communication is key to making it through the workday and getting work done. Checking and responding to e-mail messages and voice mails throughout the day can eat up valuable time, both in checking and responding to messages and in refocusing on what you were doing before the interruption. Here are ways to manage the flow of messages and other communications at work: • Check e-mail messages just two or three times a day. Checking e-mail too frequently interrupts your work flow and eats into your productivity.

Try checking e-mail when you arrive at work, at lunchtime and towards the end of the day.

• Prioritize e-mail messages. Respond to urgent messages right away or e-mails where you know the answer and can respond quickly. Create folders on your computer or in your e-mail program for all others. Categorize these messages according to the name of the project or person who sent the message, the follow-up required and the time frame for your reply.

• Don’t use e-mail as a substitute for conversation. A brief phone call may accomplish what might take several rounds of e-mails, especially when a decision has to be made. This is an easy way to save time and energy.

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• During busy times, let your voicemail pick up messages if possible.

• Check your voicemail two or three times each day and return calls.

• Manage interruptions from co-workers during busy times. If you have an office door and are in a work crunch, close the door to let others know that you are busy. If you don’t have a door, post a sign outside your workspace indicating when you will be free. Or, you can simply let them know you are close to a deadline and would catch up with them when you had a moment.

Ask for Help If you need help getting organized, get your co-workers to help you out. They might be better organized than you and can give you pointers. You can also see how they arrange their desk or how they prioritize work and then mimic that. Take feedback from them as to how you’re doing and what you can improve on.

How your workplace is organized is very important because others may notice and it might not be a good representation of the company.

Sometimes it’s impossible to complete all your tasks on your own. Don’t be afraid to ask for help or to delegate work to your co-workers. This can help keep you from feeling bogged down and stressed out. Sharing ‘to-dos’ among your co-workers allows them to feel ownership while allowing you to stay organized and on top of your deadlines.

Once you find out what works for you and strive to implement good habits, you’ll be plowing through your work with renewed energy in no time. If you aren’t organized by nature, don’t pretend like you can be. Instead of trying to wrestle your work duties into place, set realistic goals about what you can control and what you need to let go. Setting small, reasonable objectives for accomplishing job related tasks will allow you to stay on track while still maintaining a sense of accomplishment. It’s also a great way for you to remind yourself what you can do, as opposed to what you need to do.

And finally, you don’t have to conquer everything at once. Choose a small chunk…maybe the top of your desk or a drawer, and organize that. It’s easy to put things off for another day, but it’ll save you headaches in the long-run if you deal with things immediately. Throw it out, donate it or keep it and put it in a designated area.

Anna Miller is an Event Manager for the Kentucky Derby Festival Inc. She can be reached at amiller@kdf.org.

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STARTING A DEVELOPMENT EFFORT FOR YOUR FESTIVAL John R. Melleky, CFRE

Typically, festivals have traditional funding streams – ticket sales, merchandise sales, food and beverage sales, etc. However, festivals and events can learn a lot from traditional nonprofit organizations and associations to create a development program that can be developed as a new funding stream for the festival. Donors in a strong development program can include individuals, corporations through their foundations, private foundations, public foundations, or government grants.

Many festival organizations are nonprofits and have been set up as a 501c(3), 501-c(4) or 501-c(6) organization.

These IRS designations help identify the organization. A 501-c(3) designation is the most commonly used section of the IRS code. This represents organizations that are organized exclusively for charitable, religious, scientific, literary or educational purposes and must be organized as a corporation, fund, foundation or charitable trust. Earnings from a 501-c(3) organization cannot be for the benefit of any private shareholder or individual, lobbying cannot be a substantial part of activities, the organization cannot participate in campaign activities for a political candidate, and the assets of the organization must be dedicated for an exempt purpose.

Contributions are tax deductible.

The 501-c(4) organization is formed and operated to promote social welfare which is general welfare and the common good, and typically include civic orga54

nizations and volunteer fire companies.

With the 501-c(4) organization, earnings of the organization cannot benefit any private shareholder or individual, it must be organized to promote social welfare to further the common good and general welfare of the people of the community, and it may not restrict the use of its facilities to certain groups. Contributions are not deductible as a charitable contribution, but may be deductible as a trade or business expense by the donor.

A 501-c(6) organization is typically a nonprofit business league, chamber of commerce, board of trade, or real estate board. Each of these organizations are groups of people or organizations that have a common business interest with a purpose to promote that interest. For instance, a chamber of commerce is comprised of merchants and businesses that want to promote their business. Again, none of the earning will benefit any private individuals, the organization is not organized for profit or engage in the type of activity normally carried on for profit, it is not engaged in activities that are the basis for its exemption, and it is typically supported by membership dues or other income from activities related to its exempt purpose. In addition, the organization must show it is devoted to the improvement of business conditions and show that the conditions of a particular trade or interest will be advanced.

A summary of the various differences can be seen below.

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A development program can be created easily if your organization is a 501-c(3) organization. However, some festival and event organizations have been set up as a 501-c(4) or c(6). This makes fundraising a bit more difficult. However, these associations can create a development effort if a charitable side that is a 501-c(3) organization has been defined as part of the festival. This is seen in many associations that have an affiliated foundation with that organization.

Why would an organization create a 501-c(3) organization that is tied to the association/festival? The other types of nonprofits are associations that have members comprising the organization structure and is another source of revenue. More commonly, in this 501-c (4) association model, aside from the festival revenue streams, other revenue streams include dues, advertising, sponsorships, or registration income. Since the association has members it is member driven and the members are part of the governance structure. Dues is more of a business decision and individuals pay dues to help themselves. Typically, the dues has benefits, which the individual person or business can obtain. Overall, this creates a more inward-focused organization, where the members are interested in what benefits themselves and governance can take on a level of what is going to be beneficial to an individual member of the organization.

With that in mind, many associations have created a separate charitable side,

typically a foundation. An association foundation (the 501-c(3) side) of an organization has a different structure and outlook. Instead of members, there are donors for the organization. Revenue sources are more limited than the association side, with revenues coming from contributions and investments. With this structure, governance is more donor driven, including individuals who believe in and have funded the mission to be a part of the governance. Donations are obtained with a personal connection to the issues or needs of the organization. People will give a charitable contribution to help someone else, meaning that this leads to an outward focus for the organization – it is more than the internal membership and helps the community at large.

With this association-foundation structure in place, an organization next needs to determine its mission. This mission is the overarching reason why the organization exists. The mission should complement the purpose of the festival and not be at cross purposes with the festival. This mission should be easily articulated and be consistent across the organization.

In the association foundation model, the foundation side should be there to enhance and fund the association side or its programs that might be charitable.

The missions go hand in hand. With this structure, and for good fundraising purposes, this leads to the development of strong programs for the organization. Before any fundraising takes place, programs need to be developed. The programs need to fulfill the charitable side of the organization and meet the mission of the organization. Programs should be strengthened with goals and objectives.

Donors want to know details about the programs for the organization. One way to leverage the model of the association foundation is to review the programs on the association side and determine what is charitable and could be funded by the charitable side.

Festivals do have certain programs that can be charitable in nature and creating programs for a festival that includes a charitable program can be easy. For instance, if a music festival wants to build an education program, it can have the musicians go into schools and perform or speak to students.

In 2012 at Fiesta® San Antonio, the organization that was running the Miss Fiesta San Antonio® program asked the Fiesta® Commission (the c(4) association side) to take over the program. The Commission decided to have the program become a charitable function and changed it from a beauty pageant to an internship program. The fact that Miss Fiesta San

Antonio® has to be at certain appearances at certain times made it clear that this was a job. From that, it was decided that the candidates are chosen by developing a project based in one of the charitable program areas and then implement the project throughout the year. The candidate is chosen through a panel interview and a live interview where the candidates are asked about their project, its goals, and objectives. This created a charitable impact for the education pillar of the charitable organization and still fulfilled the mission of the festival. The charitable side of the organization has raised over $22,000 in new dollars in six months to implement this new program for the organization and still meet objectives of the festival on the association side of the structure.

While funding a new program is important, through the association foundation model, many of the overhead and operating costs of the association can be funded by the charitable side.

Barricades for an event or parade could be a part of a public safety program and be funded through charitable gifts. Any staff time working on the charitable programs can be reimbursed through the charitable side, along with any associated overhead for that staff. For instance, if a staff person spends 10% of their time on a certain program, 10% of their overhead (office, furniture, utilities) can be extended to that program. Meeting space used for charitable program meetings can be charged to that program. In addition, entire programs, such as volunteer management, can also be funded as these represent charitable programs of a festival or event.

Having a strong mission and programs are great platforms to begin. The last important part in creating a development effort is to create a strong board that can assist in fundraising. This becomes part of the fiduciary responsibility of the board of the 501-c(3) foundation organization.

The board should be able to identify prospects, set meetings, open doors for new donors, and ask for the gifts from their peers. It is important to remember that people give to people to help people through the programs. A strong board is needed to succeed, especially as part of their fiduciary responsibility.

The board needs to support the organization through donations and it should be the top of their personal charitable giving each year. It is important to have the foundation board consist of people whose main goal is to raise money for the organization and believe in the mission and programs of the organization.

When beginning the fundraising effort, it is best to start from the inside and work Winter 2014

outwardly. This means that those closest to the organization should give and set a pace for others to give to the organization. In meetings with potential donors, the board member will be asked how much do they contribute to the organization. Even aside from individuals, this has translated down to foundations – many grant applications now ask the percentage of board giving and the expectation is 100%.

Creating a development program and utilizing either your 501-c(3) organization or creating a separate foundation takes work. However, it can lead to more secure revenue streams for the organization as you are building a cadre of individuals and organizations that believe in your organization, its mission, and its programs. This can help in building long term relationships and stem economic downturns, weather, or other factors that can hinder the typical revenue streams of a festival.

References • Dean, Curtis, Woodley Lion Consulting, presentation to Association Foundation Group, May, 2007.

• Lee, Marion, Bacon Lee & Associates, presentation to Fiesta® San Antonio Commission, July, 2013.

• Weinstein, ACFRE, Stanley, The Complete Guide to Fundraising Management, John Wiley and Sons, Inc. 2002 John R. Melleky, CFRE is the Chief Executive Officer for the Fiesta® San Antonio Commission. Before joining the Fiesta Commission, John was the executive director of the Society of Cardiovascular Anesthesiologists Foundation in Richmond, Va. He also founded 3fold consulting LLC, which provided event planning, association management, and fundraising services for a variety of nonprofits.

While working with Veronica Whitehead & Co. as operations director, Melleky worked on conferences for Time Warner and MasterCard, and 10 years with the FORTUNE 500 Forum.

He was also the operations director for Real Simple’s “Get Organized New York Tag Sale” in Central Park, which raised money for the New York City Fund for Public Schools. John has a B.S. in Business Administration from the University of Richmond and an MBA from Virginia Commonwealth University and is a member of the International Festival and Events Association and the Association of Fundraising Professionals.

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NETWORKING

GRACE:

BUILDING YOUR NETWORK WITH SINCERITY

By Gail Alofsin The Miriam dictionary defines networking as “the exchange of information or services among individuals, groups, or institutions, specifically: the cultivation of productive relationships for employment or business.” We all know that networking is important for our growth, both personally and professionally. Yet there are so many times that we skip an event, conference, or meeting offering a myriad of excuses. “Err, another networking event – I did not meet anyone the last time.” “I can skip this one – there will be more.” “It’s raining, too cold, too hot.”

“I’ve had a long day – I am too tired.” “I won’t know anyone.” “I don’t know what to say.” Excuses, excuses! Let’s face the facts - you are not going to meet anyone by sitting in your office or home on the couch.

Since January, 1999, I have had the privilege of welcoming over 1000 students to my classroom at the University of Rhode Island. Additionally, I have worked with over 100 interns. Whether teaching in the journalism, public relations, communications, business or the library science department, the focus of the class was the importance of relationships.

How extensive is your network?

Relationships expand well beyond who you know and who knows you. Are

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your friends on Facebook and contacts on LinkedIn relationships that will return your text, phone call or email within 24 hours? Do you reach out solely when you need something? What do you do to keep in touch with these contacts and to assist others?

To be effective at networking with a give first, gain second focus, I recommend natural and sincere networking, with GRACE (Gratitude, Relationships, Attitude, Communication, Enthusiasm).

Gratitude Be grateful for the opportunity to network. Whether you are a student or a seasoned employee, you have a network.

Your network is comprised of friends, friends of friends, classmates, alumni, career services, organizations, community, non-profit organizations and professionals in both your field of business and other corporations. If you are new to a community, offer to volunteer. Everyone has an expertise and an extra set of hands is always welcome. Smile, be pleasant, introduce yourself to others and be grateful for the opportunity to help others. Attend career and alumni events at your alma mater, high school and college reunions.

Do your best to attend monthly business breakfasts and receptions in your community. Share your knowledge by offering to speak at a local chamber event or regional conference. Your ideas, advice and knowledge will be most welcome.

You may have skills that have yet to be discovered and offering your energy and time will serve to excavate these assets. Be thankful for your gifts. And, say “thank you” often. Gratitude is best when shared with action and words.

Relationships Set a goal for what you want to accomplish at the event. Are there key decision makers you would like to meet? One way to meet the attendees is to volunteer at the registration table. Request a list of attendees a week in advance and do your homework. As you determine the people you would like to meet, review their profiles on LinkedIn, their corporate website and press releases regarding their respective business. Do you have anything in common – hometown, schools, sports, experience or interests?

Networking is a full time job versus an afterthought, leading to new and future business. As you meet people, in addition to learning about them, you have the opportunity to showcase your business and interests. Staying in touch, in a meaningful way, will assist you in forming, maintaining and expanding a strong contact base and circle of influence.

Attitude View networking as an opportunity to meet new people, spend time with colleagues, reinforce current relationships and learn new things. In the spirit of the Girls Scouts, “Make new friends, but keep the old; one is silver and the other’s gold.”

Be open to meeting new people versus spending the event “visiting” with a few people that you already know. Set a goal for the number of meaningful contacts that you would like to make. Networking is not about meeting everyone in the room, yet you should depart with a sense of accomplishment.

Your attitude should be one of “give” versus “gain.” I truly believe that when you give first in networking, your gain will be exponential. We all have expectations of what we would like to garner from networking opportunities. As we listen to others, we learn about their goals and aspirations. How can we assist them?

As your network grows, how can you help others enhance their career or achieve their goals through your contacts?

Approach networking with a positive attitude, self-confidence and open mind.

As you meet people, offer a firm handshake, sincere smile and eye contact.

Practice listening. Good listening skills are honed at every encounter. Do your best to offer meaningful and impactful conversation – avoid any negative stories or gossip. You do not want people to share negative news that you imparted as this will brand you as a person who cannot be trusted and further, does not have anything significant to share.

Communication Everything Communicates! From your “grand entrance,” to your handshake, attire and body language; your message is conveyed. My mother always counselled us: “to be interesting, be interested.” Ask questions that focus on the other person, listen thoroughly and do your best not to interrupt. When you concentrate more on listening than talking; it is a sign of respect. A few questions that you might ask include: “What an interesting job you have, how did you get started?” “What are current trends in your industry?” “What do you enjoy doing when you are not working?”

“Have you attended this networking event in the past?” Stay current in regard to news, movies and books. Become an expert in your respective field of study or interest.

Craft your “elevator pitch.” An elevator pitch is a concise summation of who you are and what you do, best limited to under a minute. Prepare one or two in order to have an appropriate, succinct and memorable introduction for the select audience. If you are a student, you could include your area of interest, Winter 2014

experience and internships. A recent grad might choose to add career aspirations. If you are working, do your best to focus on what you do in a creative and interesting way. If you are in search of a job you are a “resource” looking for an opportunity!

What are memorable and interesting points that you can get across in three minutes, inspiring the listener to offer assistance in your job search?

Enthusiasm When you are passionate about other people, networking to give versus gain, following up on promises made and staying in touch in a meaningful way, you will be branded as an enthusiastic professional who people enjoy spending time with. This positive energy becomes an extension of your personal and professional brand.

Our brand is the perception other people have of our accomplishments, contributions and personality. We spend our entire career cultivating and protecting our brand, personally and professionally.

Professionally, what is the word on the street about you? Establish yourself as an expert in your field. Earn a reputation for quality performance, and use your gifts to assist others in your community and beyond. Mentor a student, volunteer for a non-profit, join a board, or contribute your energy and knowledge to a project.

In the workplace, you want to be present versus “on strike” at work. In other words, “don’t leave before you leave.” Build a reputation via your actions and contributions as a “must have” employee.

Are you ready to network? Pack your networking toolkit with a smile, positive attitude and neat attire. Bring plenty of business cards, pack your breath mints and have a great time!

As a sales & marketing executive for Newport Harbor Corporation, Adjunct Professor at the Harrington School of Communications & Digital Literacy at the University of Rhode Island, active volunteer and board member, and international keynote speaker (gailspeaks. com), Gail Lowney Alofsin does her best to merge these separate vocations (and identities!) while assisting others with natural and sincere networking.

Her book, Your “Someday” is NOW! What are YOU Waiting for?, focused on the integration of life and work in addition to building your personal brand, was published in March 2014.

Gail can be reached at 401-640-4418 or gailalofsin@yahoo.com. Follow Gail on Twitter - @gailalofsin.

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Remember All Those Who Helped You Get Where You Are Today?

The IFEA “Fund for the Future” provides critical funding to ensure that the IFEA has reserves in place to protect against future economic shifts and realities in a constantly changing world; to allow the organization to keep pace with new and changing technologies necessary to communicate with and serve our global industry; and to support a continued expansion of our services, resources, programming and outreach around the world.

Pay it Forward With a Gift to IFEA’s

‘Fund for the Future.’

Your donation will ensure that our world always has something to celebrate!

Contact any IFEA Foundation Board, IFEA World Board, or IFEA Staff Member for more information.

Individual and Organizational Contributions are welcomed and encouraged.

All contributions are tax-deductible in the United States.

For more information go to www.ifea.com.

Love, Love Me Do! Fab Four Open Fab Fair

SAN DIEGO COUNTY FAIR GRAND OPENING SURPRISES ALL!

“It was 20 years ago today”… or was it 50?… that the originators of Sgt. Pepper’s Lonely Hearts Club Band invaded the American music scene on what would later become a Magical Mystery Tour and left it forever changed. I Want to Hold your Hand was just the beginning because, of course, “…she was just 17—you know what I mean… I saw her standing there.”

What would you say if I sang out of tune… With a Little Help from my Friends… and Lucy in the Sky with Diamonds—became indelible memories for generations to come, as over the next thirty years, British music stepped off a Yellow Submarine and walked down Abbey Lane into the hearts of a nation. The rest is history, and the San Diego County Fair brought it all roaring back this year.

The Fair ran June 7- July 6 at the Del Mar Fairgrounds.

The Long and Winding Road The journey started in Mexico last January when Tim Fennell, General Manager/CEO of the Del Mar Fairgrounds in

California (organizers of the San Diego County Fair ) met International Events’ President Charlotte DeWitt of Boston while both were speaking at the Congreso Especializado para Ferias Populares y Festivales conference in León, Mexico, organized

by Fabian Obregón Torres, CEO of LUDEN Entretenimiento and former director of the Feria León, Mexico’s second largest state fair.

Fennell was intrigued by DeWitt’s use of huge, papier mâché-style “big heads,” or grosses têtes as they are known in France, in the Grand Buskers’ Parade she had produced for the opening of the Kuala Lumpur International Buskers’ Festival in Malaysia. Why not the Beatles? He had already re-branded this year’s San Diego County Fair as the Fab Fair in honor of the 50th anniversary of the Beatles’ American début in 1964. What better than to bring over the Fab Four… larger than life?

The timeline was tight—sketches crossed the Mediterranean and then, the Atlantic, traveling electronically through multiple time zones to land on the edge Winter 2014

of the Pacific. Once approved, the sculpting of the commissioned pieces began— John, Paul, Ringo, and George—with photos of the work in progress. Shipping via container from the Port of Marseille, France, would take a minimum of 33 days, as the heads were too large to go air freight at a reasonable cost. Customs clearances, trucking, touch-ups, and rehearsals… all in a knick of time. She loves you! Yeah yeah YEAH! For further information on the Fab Four: Charlotte J. DeWitt, CFEE, President

International Events, Ltd. 249 West Newton Street, #8 Boston, MAassachusetts 02116 USA +1 617 (513) 5696 www.internationaleventsltd.com charlotte@internationaleventsltd.com

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The International Festivals & Events Association announced and recognized the 2014 recipients of the “IFEA World Festival & Event City” award during the 59th Annual IFEA Convention & Expo in Kansas City, Missouri, United States on September 29, 2014. The IFEA would

Newcastle New South Wales, Australia

like to congratulate all of our 2014 IFEA World Festival & Event City Award Recipients.

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Newcastle is well on its way to achieving its vision as a resilient, connected,

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liveable, vibrant, culturally rich, innovative and balanced city. It has made real progress toward transforming its reputation from steel city to cosmopolitan coastal centre which has not gone unnoticed.

It was named one of the top 10 cities in the world in Lonely Planet’s ‘Best in Travel 2011’ guide and was the 2012 recipient of the International Festival and Events Association’s Festival City award for cities under one million population. Newcastle’s reputation as a can-do city and its enthusiastic community ensures that any event that it hosts provides organisers and participants with world-class experiences.

Dubai United Arab Emirates

Philadelphia Pennsylvania, United States

Dubai is an energetic and dynamic city – a place where optimism reigns and visions are realised. The second largest of the seven United Arab Emirates, Dubai is at the heart of one of the world’s fastest growing regions. In the blink of an eye, the emirate has transformed itself into a modern bustling metropolis at the forefront of the events industry; a vibrant hub for knowledge and leisure, commerce and trade and a place where the impossible becomes possible.

Home to over two million residents representing more than 200 nationalities, Dubai is alive with culture. At the crossroads between East and West, over one third of the world’s population live within a four hour flight of the city. In 2013, 11 million hotel guests stayed in Dubai and the city was named as a top destination to visit during 2014 by both the New York Times and the Trip Advisor Traveller’s Choice Award.

With an inspiring, diverse and exciting annual calendar of events covering the genres of gastronomy to sport, music to heritage and all that’s in-between, Dubai plays host to world-class events including Dubai World Cup, Dubai Food Festival, Gulfood and Dubai Shopping Festival to name a few. Also home to an ever-growing infrastructure of the very best hotels, venues and transportation options such as the new Dubai Tram, the emirate has become the destination of choice for visitors from around the world – solidifying its reputation as an exciting and energetic city that its residents are proud to call home.

Famous as the birthplace of life, liberty and the pursuit of happiness, Philadelphia offers much more than cobblestone streets and historical landmarks. Cultural, culinary, artistic and ethnic treasures São Paulo Brazil

To enjoy São Paulo is to experience infinite possibilities, to live the moment intensely, to breathe culture, to fit into whatever is more modern, to get acSydney New South Wales, Australia

Winter 2014

abound in this city and its surrounding countryside.

What makes Philadelphia so memorable is its unique blend of experiences that one must discover in person. By day, explore four centuries of history and architecture, beautiful neighborhoods, remarkable museum collections and endless shopping. After the sun sets, the city heats up with acclaimed performing arts, amazing dining and vibrant nightlife.

All this and more attracts more than 39 million visitors to the Philadelphia region each year, sustaining 89,000 jobs in the hospitality sector and generating approximately $10 billion in annual economic activity. Philadelphia is a city on the rise and has become a world-class destination quainted with people from all over the world, to be creative, innovative and global in a special way: with Brazilian spice.

São Paulo is connected, is in a hurry and thirsts for novelty. It is at the top of world trends and its blends – from what is contemporary with that of vintage, from what is traditional to that which is new, from what is underground to that which is mainstream, from culture to business, from art to street, from what is Brazilian to that which is international – make it a fertile land for creativity. This is the major vacation of São Paulo, to be a city of everything, everyone and every event! São Paulo. Experience it all!

Sydney’s major festivals and events are integrated into the fabric of the city; they unite communities, celebrate life, talent and achievement and communicate Sydney’s true essence to the rest of the world.

Sydney has a will to succeed as a global events city; this is driven by the knowledge that events bring great benefit to the community – and the city has much to share with the rest of the world.

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Congratulations to the 2014 Graduates of the

Program Matt Cranford

Barbara Neff

San Mateo County Event Center

Downtown New London/ Sailfest/Neff Productions

Cassandra Lee-Anne Delgado

Heather Pingry

Anticipated Serendipity Events

Tulsa International Mayfest Inc.

Ellesor Holder

Fabian Obregon Torres

South Carolina Festival of Flowers

Luden Events

Cheryl Lawrence

New Zealand CFEE Program

City of Alexandria Virginia

Celine Filbee

Diana Mayhew

National Cherry Blossom Festival

Jo Finlay

John R. Melleky

Penny Mitropoulos

Fiesta San Antonio Commission

Eric Ngan

Anna Miller

Nick Reader

Kentucky Derby Festival

Sponsored by

PRESENTING SPONSOR

IFEA WORLD FESTIVAL & EVENT CITY

©

AWARD PROGRAM “Recognizing the best in city-event leadership and partnerships around the world.”

ABOUT THE

IFEA WORLD FESTIVAL & EVENT CITY AWARD

©

The IFEA World Festival & Event City Award © was designed and created as a way for the global festivals and events industry to openly encourage, support, learn from and recognize positive local environments for festivals and events worldwide. If you are considering applying for this prestigious award, you already understand the important role that festivals and events play in your community by: • Adding to the quality of life for local residents; • Driving tourism; • Showcasing a positive community brand and image to the media, business community, and visitors; • Creating economic impact that translates into jobs, tax revenues and enhanced infrastructure improvements; • Providing enhanced exposure opportunities for the arts, not-for-profit causes and other community programs and venues; • Promoting volunteerism and bonding the many elements of the community together; • Encouraging community investment, participation, creativity and vision; and • Building irreplaceable ‘community capital’ for the future.

To achieve and maximize these important returns for the markets that they serve, we must clearly understand their direct correlation to the partnerships with and support from the local community, at all levels, that is critical to the success and sustainability of existing festivals and events, as well as the ability to attract and encourage new events. Through this special award the IFEA is pleased to recognize those cities and markets who have worked, through concerted efforts, to provide an environment conducive to successful festivals and events. For each year’s selected cities, the IFEA World Festival & Event City Award © provides: • A strong platform from which to recognize the success of current and on-going efforts by every component of your community; • A clear positioning statement to encourage continued infrastructure, policy and process enhancement and expansion; and • A powerful marketing statement for use in recruiting and encouraging new festivals, events and businesses.

We look forward to working with you, your city and community partners to recognize the quality efforts and support that you have successfully developed over the years and should be rightfully proud of. Thank you for your continued support of, and partnership with, the festivals and events industry. Best of Luck with your entry!

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VISA: GLOBAL SPONSOR OF THE IFEA WORLD FESTIVAL & EVENT CITY AWARD

©

In 2011, VISA joined with the International Festivals & Events Association to become the presenting sponsor of the IFEA World Festival & Event City Award, creating a natural partnership between the global events industry and the globally recognized financial leader.

“Through this unique and special award, the IFEA hopes to create and expand the dialogue between events and cities around the world, at a time when each needs to be supporting the other more than ever. VISA is the ideal partner for this program and together we look forward to creating new and ongoing opportunities to explore and inspire these important city/event partnerships, redefining ‘best practices’ and setting the stage for the future,” said Steven Wood Schmader, CFEE, President & CEO of IFEA World.

Charles Brown, Chairman & CEO of Festival Transaction Services and Festival Media Corporation, representing VISA in recognizing the previous IFEA World Festival & Event City Award© recipients, commented that “The IFEA has successfully built a global network of event professionals and resources that are changing the face of the industry and VISA is proud to be a part of that effort.”

Festival Transaction Services has formed a new partnership that includes VISA, Bank of America Merchant Services and First Data Corporation – the three largest financial services companies in the United States – to provide cash management services to the festivals and events industry around the world. “We know that the professionals in the global festivals and events industry today are in need of strong and reliable partners – from recognition to cash management systems that can help them enhance the attendee experience, increase revenues and build stronger financial foundations. We can now bring that to the table and are excited about working with the IFEA to help strengthen the success of festivals and events around the world,” noted Brown.

For more information on VISA products and services for festivals and events, please contact Jim Shanklin, Executive Vice President of Festival Transaction Services/Festival Media Corporation at +1-206-381-5202 or jshanklin@festmedia.com.

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ENTRY INFORMATION Quick Reference Guide DEADLINES

• Entry Deadline: 5:00 p.m. (Mountain Time Zone) – Monday, July 20th, 2015 • Entry must include completed entry, additional requested details and application form with payment • Due to time constraints in judging, late entries cannot be accepted.

FEES

The total cost to enter the IFEA World Festival & Event City Award© is $695 (U.S. Dollars) for IFEA Members and $895 (U.S. Dollars) for non-IFEA Members per entry. Payment may be made using a Visa, MasterCard or American Express credit card or by Check (made payable to the IFEA) or by Wire Transfer. For more information on Wire Transfers and transfer fees, please contact IFEA at +1-208-433-0950.

ELIGIBILITY

Applications for the IFEA World Festival & Event City Award © may be submitted by the City itself or by an event(s) on behalf of their City. It is our hope that the application process itself will result in an even closer working partnership and dialogue between the Applicant City and the festivals and events who serve that market.

Applicants may re-apply for the IFEA World Festival & Event City Award © each year.

JUDGING

Judging of the IFEA World Festival & Event City entries is done by an international panel of respected event professionals, who have been pleased to discover that there are many amazing programs happening around the world that will help us all to raise the bar for our own communities, showing us what is possible – at every level – when vision and leadership combine.

The IFEA World Festival & Event City Award © are presented on an individual basis to exemplary cities around the world that we hope others will emulate. The awards are not designed as a competition of one city against another, but rather to recognize those individual cities

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that have ‘raised the bar’ for everyone, taking into account the cultural, economic and geographic challenges that they have met, mastered and often changed along the way.

For that reason, we may present multiple awards each year, while some will be encouraged to strengthen or make adjustments to selected components of their entry criteria for reconsideration in future years.

SCORING SYSTEM

• A possible total of 100 points may be awarded to each entry based upon the individual components listed under Sections 1-6 of the overall entry.

• Failure to meet all requirements or answer/ provide all necessary information may impact judging decisions and will result in a deduction of points.

• If a section or element does not apply to your City, please state this within your entry (explaining why it does not apply) in order to avoid losing points.

SELECTION AND NOTIFICATION

• Award Recipients will be notified via email

by August 21st, 2015. Notification will go to the primary contact listed on the entry application.

• The 2015 IFEA World Festival & Event City Award © will be presented during the IFEA’s 60th Annual Convention & Expo, Date & Location TBA. Each recipient city will be highlighted in a brief video presentation at the award ceremony and on-site throughout the convention.

MAXIMIZING YOUR AWARD

Being selected as an IFEA World Festival & Event City is only the beginning of the benefits to be gained from this special honor. The IFEA will help each recipient with ideas on how to maximize and leverage your award, with specific examples from previous recipients.

• Each winning recipient of the IFEA World Festival & Event City Award © will receive an engraved award suitable for indoor display and a personal letter of congratulations.

• Duplicate IFEA World Festival & Event City awards, flags (for display or flying) and other recognition items are available for purchase by award recipients wishing to share their honor with the many partners who helped them to win.

• Winning recipients will be provided with the rights to use the 2015 IFEA World Festival & Event City Award© Winner logo

on their websites, press releases and other appropriate City letterhead, brochures, marketing materials, etc.

• The IFEA will announce all IFEA World Festival & Event City Award© recipients in an international press release to the world’s leading media sources, including all local market media contacts provided to the IFEA by selected applicants.

• IFEA World Festival & Event City Award© recipients will be featured in a special on-line tribute section at www.ifea.com in perpetuity and in a special section of ie: the business of international events, the IFEA’s industry-leading magazine.

• Each winning recipient will receive a oneyear complimentary IFEA membership.

RELEASE & USAGE

• By submitting your entry to the IFEA World Festival & Event City Award, you automatically grant the IFEA the right to use any materials from your entry for editorial, analytical, promotional or any other purpose without additional permission or compensation. All materials and photos submitted as part of the application will become the property of the IFEA. • Entries submitted are not able to be returned. Copies should be made prior to submitting your entry, as desired. Note: Proprietary or sensitive information will not be shared if identified clearly.

• Winning applicants agree that the IFEA may use their City name and representative photos in all press releases and program marketing materials, both hard copy and electronic versions.

• Your entry into the competition is acknowledgement of these terms.

ENTRY REQUIREMENTS

Working in partnership with local community leadership, festivals, events, organizations and businesses, please provide a clear overview and understanding of the festival and event environment in your City/Market through your responses to each defined section. The application process in itself is a great opportunity to evaluate internally the areas where your City excels and other areas where you may be able to strengthen your efforts and further support local programs.

Cities interested in being considered for the annual IFEA World Festival & Event City Award© must submit and include the following information: 1. A completed entry form providing contact and payment information.

2. A one (1) paragraph description of your city (to be used for promotional purposes by the IFEA).

3. An email list of your local media contacts in Excel format for IFEA for use in announcing the selected recipients.

4. A representative photograph highlighting your City and/or events. (A least 300 dpi in size) 5. A three (3) minute video presentation representing your City. (Refer to Important Details section below for video format.)

6. A one (1) page introductory letter stating why your City should be selected to receive the IFEA World Festival & Event City Award.

7. Your overall completed IFEA World Festival & Event City Award© Entry providing responses and supporting information for the following sections. Refer to pages 6-9 for detailed descriptions required for each section. This part of your entry must be submitted as one (1) singular entry piece/ document/PowerPoint/Pdf, etc.: ❍ Section 1: Community Overview ❍ Section 2: Community Festivals & Events ❍ Section 3: City/Government Support of Festivals & Events ❍ Section 4: Non-Governmental Community Support of Festivals & Events ❍ Section 5: Leveraging ‘Community Capital’ Created by Festivals & Events ❍ Section 6: Extra Credit To view examples of past IFEA World Festival & Event City Award© recipient entries, go to: www.ifea.com / Industry Awards / World Festival & Event City Award / Recipients.

IMPORTANT DETAILS

• Please submit your main entry (as listed in components 6-7 under Entry Requirements above), as one (1) singular entry piece/document/ PowerPoint/Pdf, etc.

Components 1-5 listed under Entry Requirements may be submitted as separate pieces from the main entry, but must be submitted at the same time.

• All entry information should be provided in English and typed using 10-point Arial font.

• Please submit your overall entry via Email (preferred method of submitting entry.)

Please create entry in a Word, PowerPoint, PDF document, tif, jpg or other standard format. If entry must be mailed, please submit your overall entry on a CD, or USB flash drive to the IFEA World Headquarters in the format listed above.

• To submit Video portion of entry, please email video file as an MP4, WMF, MOV or provide a link to an online video location such as YouTube. If mailing video on a

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disk or USB Drive, please submit video as an MPF, WMF, MOV. (DVD’s should be encoded for Region 1 or Region 0 DVD capabilities.)

• Entries over one Meg must be provided as a link to a fixed site with no expiration timeframe.

TIPS & POINTERS

• Not all components under a specific section will pertain to everyone. Don’t worry; there are no ‘right’ or ‘wrong’ answers and our international judging panel will base their decisions on overall impressions after reviewing all of the submitted information. We are all learning from each other, with the goal of strengthening the partnerships, benefits and returns to our respective communities from the festivals and events that are such an important part of the community fabric and we hope to find additional new ideas being implemented from within all of the award entries that we can share in the future.

• Responses to the requested information may require a straight-forward numerical answer, or a more descriptive definition.

While we have placed no limits on length, we encourage you to provide the most succinct answers possible that clearly make your point.

• If you have any questions or need clarification on any criteria, please do not hesitate to contact us.

• Support materials, photos, videos, brochures, copies, etc. should be inserted following the responses to each section.

• As needed, we may communicate with the primary contact on the application to clarify any questions that may arise.

SEND ENTRIES TO

Please email completed entries, application form and payment to: nia@ifea.com.

Entry, payment and application form may be mailed if necessary. Be sure to provide entry on a disk or a USB Flash Drive in a word, PowerPoint, PDF or other standard format.

Please mail to: IFEA World Festival & Event City Award 2603 W. Eastover Terrace Boise, ID 83706 U.S.A.

QUESTIONS?

Contact: • Steve Schmader at schmader@ifea.com • Nia Hovde at nia@ifea.com • Phone: +1-208-433-0950 ext:3

IFEA World Festival & Event City Award

©

ENTRY REQUIREMENTS

Working in partnership with local community leadership, festivals, events, organizations and businesses, please provide a clear overview and understanding of the festival and event environment in your City/Market through responses to each of the following sections. The application process in itself is a great opportunity to evaluate internally the areas where your City excels and other areas where you may be able to strengthen your efforts and further support local programs.

Please submit the following information: 1. A completed entry form providing contact and payment information.

2. A one (1) paragraph description of your city (to be used for promotional purposes by the IFEA) 3. An email list of your local media in Excel format for IFEA to use to announce the selected recipients.

4. An individual photograph representing your city. (A least 300 dpi in size).

5. A three (3) minute video presentation representing your city. (Refer to Important Details section for video format.)

6. A one (1) page introductory letter stating why your City should be selected to receive the IFEA World Festival & Event City Award.

7. Your overall completed IFEA World Festival & Event City Award© Entry providing responses and supporting information for Sections 1-6 below. This part of your entry must be submitted as one (1) singular entry piece/document/PowerPoint/Pdf, etc. Please refer to the Entry Requirements and Important Details sections for specific entry formats and details.

To view examples of past IFEA World Festival & Event City Award© recipient entries, go to: www.ifea.com / Industry Awards / World Festival & Event City Award / Recipients

Section 1.

Community Overview Goal: The information in this section should help provide us with a better understanding of your community and the infrastructure in place to host and/or support those producing and attending festivals and events.

• Please provide an overview of your community that will provide us with as many elements as possible, such as: a. Current City Population b. Current SMSA or LUZ Population (Standard Metropolitan Statistical Area or Large Urban Zone) c. Population within a 50 Mile Radius of Applicant City d. Primary Festival and Event Venues Available (Indoor and Outdoor. For example: Theatres, Plazas, Bandshells, Parks, Stadiums, Fairgrounds, Sport Facilities, Convention Centers, etc., including those facilities planned for completion within the next two years. Include Estimated Capacities for each. For outdoor venues, use a formula of 1 person per 3 square feet if no other total capacity numbers are available.) e. Water and Power Accessibility in Outdoor Venues f. Hospital and Emergency Response Availability g. Total Number of Hotel Rooms Available h. Public Transportation Options i. Parking Availability (Paid lots, meters, and free) j. Walking Paths, Bicycle Lanes k. Estimated City Visitors Annually Attributed to Festivals and Events

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Section 2.

Community Festivals and Events Goal: The information in this section should provide us with an understanding of the diversity and success of current festivals and events that serve your city residents and visitors throughout the year.

• Please provide us with a good overview of the leading festivals and events currently operating in your market. A full-year calendar of events is very helpful as we consider this area.

Please provide the following for the ‘Top 10’ festivals or events in your market: a. Festival or Event Name b. Top Executive Contact Information c. Number of Years Festival or Event has been Produced d. Event Dates (Minimally the month held, with days if clearly defined – For example: the last weekend in June. If the event is a series, list the starting and ending dates – For example: Every Wednesday, June through August.) e. Primary Target Audience (For example: Families; Young Adults; Seniors; Children; Specific Cultural Heritage Groups; All Community Segments; Out-of-Market Visitors, etc.) f. Recurrence Cycle (Annually, Every 5 Years, etc.) g. Estimated Combined Aggregate Attendance

Section 3.

City/Governmental Support of Festivals and Events Goal: The information in this section should help us to understand the strength and depth of support by the applicant City and other area governmental bodies (County, State, taxing districts, etc.) and demonstrate a clear awareness of event support needs by government agencies and officials.

• Please define or describe each of the following elements (a-i) below, as completely and accurately as possible.

• Where available and appropriate, please provide examples and copies.

• If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Defined and Accessible Public Objectives and Support Statements for Festivals and Events by the City and Other Local Government Agencies b. Direct Funding Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies c. In-Kind Services Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies d. Defined Role of the City in Festival and Event Approval e. City-Provided Festival and Event Process Coordination and Assistance Systems (For example: Existence of a City Events Department; ‘One-Stop Shopping’ for Permitting and Municipal Service Needs; Shared Resource Programs for Volunteer Recruitment/Management, Non-Proprietary Equipment Usage/Maintenance, Insurance/Music Licensing Provisions, etc.) f. Participation in Official Capacity by City Department Representatives on Boards and Planning Committees of Local Festivals and Events g. Local Laws, Ordinances, Regulations, Permits and Policies Impacting and Supportive of Festivals and Events (For example: noise ordinances, traffic regulations, curfews, parking fees, fireworks regulations, ambush marketing control, alcohol service requirements, taxes, food safety, insurance requirements, etc.) h. City Provided Festival and Event Training Programs (For example: Marketing, Planning, Budgeting, Risk Management, Alcohol Service, City Department Introductions, Professional Certification, etc.) i. Direct Industry Involvement / Memberships by Any of the Above

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Section 4.

Non-Governmental Community Support of Festivals and Events Goal: The information in this section should help us to understand the commitment to festivals and events and direct support provided by community individuals and non-governmental organizations. Without this type of support most festivals and events could not achieve the level of success that these important partnerships help to build.

• Please define or describe how each of the following elements/organizations (a-l) below (if applicable) lends their support to ensure the success and outreach of local festivals and events completely and accurately as possible.

• Answers should be provided as an overview reflective of the entire community versus an individual event/organization, with enough detail to provide a clear picture of support.

• If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Volunteer Involvement b. Sponsorship Support (include in your answer a list of the ten (10) most prominent corporate sponsors in your market) c. Media Support d. Chamber of Commerce / Convention & Visitors Bureau Support (Promotion and marketing activities, familiarization tours, travel writer access, material creation, information distribution, grant funding, visitor hosting, etc.) e. Downtown Associations (Support by Downtown merchants and businesses) f. Organizations to Assist Individuals with Disabilities g. Local Event Cooperatives h. Sports Commissions i. Educational Institution Support j. Special Incentives/Discounts Provided to Festivals and Events by Local Venues k. Access to Industry Suppliers in the Local Market (For example: banners and decorations; generators; portable toilets; merchandise; generators; stage, lights & sound; golf carts; security; chairs; barricades; ATM’s; communication services; etc.) l. Direct Industry Involvement / Memberships by Any of the Above

Section 5.

Leveraging ‘Community Capital’ Created by Festivals & Events Goal: The information in this section should help us to understand how the City and its non-governmental partners maximize the ‘community capital’ created by festivals and events in your market.

• Please define or describe how your City uses the branding and marketing images/ opportunities provided by your local festivals and events to leverage return in other areas.

• These may include, the items below, among others.

• If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Community Branding (How are local festivals and events used promote and build upon the positive image of the city?) b. Promoting Tourism (How are local festivals and events used to promote tourism visits?) c. Convention Marketing (How are local festivals and events used to recruit conventions to the city during the times that festival or event activities may serve as an extra incentive for choosing a destination?) d. Corporate Recruiting Efforts (How are local festivals and events used by Economic Development efforts to recruit new businesses to consider choosing your market for their operations?)

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e. Relocation Packets and Information (How are local festivals and events used in information designed to entice individuals / organizations to relocate to your city?) f. Familiarization Tours (How are local festivals and events used by your City and Convention & Visitors Bureau as part of ‘Familiarization Tours’ for visiting meeting planners, VIP’s, etc.) g. Out-of-Market Media Coverage (How are local festivals and events used to secure interest in coverage from out-of-market media sources, travel writers, etc.?) h. Enhancing Exposure to the Arts and Other Causes (How are local festivals and events used to feature, highlight, expose new audiences to, or drive support for the arts and other causes?) i. Creating Highly Visible Public Relations Campaigns for City Facilities and Services (How are local festivals and events used to drive positive public relations campaigns for things like police image, parks usage, fire safety, EMT roles and support needs, use of local transportation options, marketing of/exposure to local venues, support of local bond issues, etc.?) j. Encouraging Community Bonding, Participation, and Celebration (How are local festivals and events used by the City to bond all of the diverse elements of the community together, encourage community involvement and support, and celebrate who we are when we are at our best?) k. Highlighting or Developing Underused Venues or Sections of the Community (How are local festivals and events used to encourage usage of or exposure to underused venues or city neighborhoods, underdeveloped sections of the City, etc.?) l. Creating Legacies and Images Beyond the Event (How are local festivals and events used to create lasting legacies (venues, programs, infrastructures and images of the City after and in-between events?)

Section 6.

Extra Credit This section provides an opportunity to highlight any other programs, services, resources, activities, etc., that may not have been included or covered in the previous sections. Some examples may include the items below, among others, a. Skills Development - Availability of Certificate or Degree Programs in Festival & Event Management through a Local University or Private Provider b. Members of Your Event Community Who Currently Hold a Certified Festival & Event Executive (CFEE) Designation c. Secondary School System Graduation Requirements that Encourage Volunteerism and Community Service during Festivals and Events d. A Festival and Event Shared Resource Program in Your City (For example: shared warehousing, office space, equipment, staff, etc.) e. Efforts to Actively Recruit New Events to Your City (Please include reference to any applications made/secured if this area pertains) f. Other Creative Endeavors

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IFEA World Festival & Event City Award© APPLICATION Entry Deadline: 5:00 p.m. (MST) Monday, July 20th, 2015 Submit Entries, Entry Form and Payment to: Email: nia@ifea.com (preferred method of receiving entry.)

If shipping entry, send to: IFEA World Festival & Event City Award© • 2603 Eastover Terrace, Boise, ID 83706 USA Phone: +1-208-433-0950 ext: 3 – nia@ifea.com

CITY APPLICANT INFORMATION (Please print clearly) Applicant City Name (If including information from surrounding market or suburb communities, please note those in parenthesis):______________________________________ __________________________________________________________________________________________________________________________ State / Province or Territory: __________________________________________________________________________________________________ Country: __________________________________________________________________________________________________________________ Global Region: (Choose one)

❍ Africa

❍ Asia

❍ Australia / New Zealand

❍ Europe

❍ Latin America

❍ The Middle East (MENASA)

❍ North America

Note: Politically connected islands and territories should choose the region of their most direct affiliation. ❍ Other (If you choose ‘Other’ please clearly specify location below.) __________________________________________________________________________________________________________________________ Population Level (select one):

❍ Under 1 million ❍ Over 1 million

PRIMARY CONTACT INFORMATION (Please print clearly) The following information should pertain to the primary individual with whom the IFEA should communicate with, as necessary, throughout the award judging and selection process.

Name: ___________________________________________________________ Title: __________________________________________________ Organization: ______________________________________________________________________________________________________________ Mailing Address: ___________________________________________________________________________________________________________ City, State, Country, Postal Code: _____________________________________________________________________________________________ Phone (Business): _________________________________________________ Phone (Mobile): _________________________________________ Fax: _____________________________________________________________ E-Mail: _________________________________________________ Note: The Recipient City will receive a complimentary membership for one year in IFEA through our appropriate global affiliate. If different from the Primary Contact please let us know who should receive this membership.

RELEASE & USAGE

• By submitting your entry to the IFEA World Festival & Event City Award©, you automatically grant the IFEA the right to use any materials from your entries for editorial, analytical, promotional or any other purpose without additional compensation. All materials and photos submitted as part of the application will become the property of the IFEA.

• Winning applicants agree that the IFEA may use their City name and representative photos in all press releases and program marketing materials, both hard copy and electronic versions.

• Your entry into the competition is acknowledgement of these terms.

PAYMENT TOTAL

IFEA Member Non IFEA Member IFEA World Festival & Event City Award©: Number of Entries:_________x ❍ $695 USD Per Entry ❍ $895 USD Per Entry = $_____________

PAYMENT INFORMATION Please select your method of payment:

❍ VISA

❍ MasterCard

❍ American Express ❍ Check (Made payable to the IFEA) ❍ Wire Transfers: (Contact Bette Monteith at bette@ifea.com for details)

Print Cardholder Name: _____________________________________________________________________________________________________ Signature: _________________________________________________________________________________________________________________ Credit Card Number:________________________________________________________________________________________________________ Expiration Date: _____________________________________________ CVN Code: _________________ (VISA/MC-3 digit code back) (AMX-4 digit code front)

DID YOU REMEMBER TO: ❍ Complete the entry form providing contact and payment information? ❍ Submit a one (1) paragraph description of your city (to be used for promotional purposes by the IFEA)? ❍ Submit an email list of your local media in Excel format for IFEA to use to announce the selected recipients? ❍ Submit an individual photograph representing your city. (A least 300 dpi in size)?

❍ Submit a three (3) minute video presentation representing your city? ❍ Submit a one (1) page introductory letter stating why your City should be selected to receive the IFEA World Festival & Event City Award©? ❍ Submit your overall completed IFEA World Festival & Event City Award© Entry providing responses and supporting information for Sections 1-6?

Is this entry submitted as one (1) singular entry piece/document/ PowerPoint/Pdf, etc.? Is this entry provided on a disk, USB Flash Drive or electronically in a Word, PowerPoint, PDF or other standard format?

Past IFEA World Festival & Event Cities Each year, the International Festivals & Events Association announces the recipients of the IFEA World Festival & Event City Award, presented by VISA at the Annual IFEA Convention & Expo. The IFEA would like to congratulate each winning city. For more information about each winning city - go to: www.ifea.com / Industry Awards / IFEA World Festival & Event City Awards / Past Event Cities

2014 IFEA World Festival & Event City Award Recipients 2010 IFEA World Festival & Event City Award Recipients • • • • • •

Dubai, United Arab Emirates Dublin, Ohio, United States Newcastle, New South Wales, Australia Philadelphia, Pennsylvania, United States São Paulo, Brazil Sydney, New South Wales, Australia

2013 IFEA World Festival & Event City Award Recipients • • • • • • •

Boston, Massachusetts, United States Hwacheon-Gun, Gangwon-do, South Korea Nice, Côte d’Azur, France Ottawa, Ontario, Canada Rotorua, Bay of Plenty, New Zealand Salvador, Bahia, Brazil Sydney, New South Wales, Australia

2012 IFEA World Festival & Event City Awards Recipients • • • • • • • • • • • • •

Ballito-KwaDukuza, KwaZulu-Natal, South Africa Campos do Jordão, São Paulo, Brazil Denver, Colorado, United States of America Dubai, United Arab Emirates Dublin, Ohio, United States of America Grapevine, Texas, United States of America Hampyeong-gun, Jeonlanam-do, Korea Lhasa, Tibet Autonomous Region, People’s Republic of China London, England Maribor, Slovenia Newcastle, New South Wales, Australia Republic of Trinidad and Tobago, The Sydney, New South Wales, Australia

2011 IFEA World Festival & Event City Award Recipients • • • • • • • • • •

Dubai, United Arab Emirates Gimje-si, Jeollabuk-do, South Korea Indianapolis, Indiana, United States Johannesburg, Gauteng, South Africa Joinville, Santa Catarina, Brazil Meizhou Island of Putian City, Fujian Province, China Reykjavik, Iceland São Paulo, São Paulo, Brazil Shanghai, China Sydney, New South Wales, Australia

• • • • • • • • • • • •

Boryeong-si, Chungcheongnam-do, Korea Edinburgh, Scotland Geumsan-gun, Chungcheongnam-do, Korea Hidalgo, Texas, United States Jinju-si, Gyeongsangnam-do, Korea Louisville, Kentucky, United States Norfolk, Virginia, United States Ottawa, Ontario, Canada Rotterdam, The Netherlands Sydney, New South Wales, Australia Salvador, Bahia, Brasil Taupo, New Zealand

2014

IFEA

the honor of a lifetime The International Festivals & Events Association is pleased to announce the induction of one of the festival and event industry’s finest professionals into its pres­tigious IFEA Hall of Fame – Karen Scherberger, CFEE, CEO at Norfolk Festevents, Norfolk, VA.

Karen Scherberger, CFEE

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Known as the association’s most prestigious honor, the IFEA Hall of Fame recognizes those outstanding individ­uals who, through their exceptional work and achieve­ments, have made a significant contribution to the Festivals and Events Industry and a profound difference in the communities they serve. Induction into the Hall of Fame is considered the highest of industry honors. Selected from a group of her industry-peers, Karen joins the prestigious ranks of 54 others inducted into the hall over the past 23 years.

Karen was honored at the IFEA’s 59th Annual Conven­tion & Expo, in Kansas City, MO, U.S.A., where she was presented with her award dur­ing the IFEA Awards Luncheon on Monday, September 29, 2014.

Influenced at a very young age by her parent’s volunteer leadership in the community with organizing civic league, church and school festivals and events, Karen was raised early on to understand and appreciate the importance of public service and the value of “celebration” in her family’s lives.

Karen continued her passion to support important social causes with event planning throughout her college years – not realizing that she was building a foundation for her future career path while also becoming involved with a wonderfully creative circle of friends that still to this day are involved in her projects.

By the time Karen finished undergraduate school in 1977, there was no such thing as an “event industry” nor degree programs in “event planning”. Karen decided to pursue a Masters degree in Higher Education with an emphasis in Student Personnel Services—with an eye on a University President’s position someday. Karen longed for the opportunity to create an environment that would make a difference in people’s lives and community, by bringing individuals with different talents and skills, backgrounds and interests together to learn and grow from one another and with each other- to be part of a greater good, to be part of a lifelong learning experience.

Karen was honored at the IFEA’s 59th Annual Conven­ tion & Expo, in Kansas City, MO, U.S.A., where she was presented with her award dur­ ing the IFEA Awards Luncheon on Monday, September 29, 2014.

At this same time, Karen also become involved in a new and life changing volunteer experience with Norfolk’s new grassroots waterfront festival “Harborfest”, planned to occur in one the most dilapidated sections of the city’s downtown.

While working as an Admissions Counselor at Old Dominion University and volunteering for Harborfest, the City of Norfolk joined a very small and ambitious group of cities across the country that began major renovation projects to bring vitality back to their depressed downtowns, especially those located in waterfront settings. Key to Norfolk’s redevelopment strategy was the inclusion of renovated public spaces combined with innovative event planning and marketing initiatives. Because of the demonstrated success with attracting the public via Harborfest to the waterfront, even in its depressed state, the all volunteer group was invited to bid on the management of this new multi-million dollar project.

When the City accepted their bid in 1982, Karen saw this as an opportunity to follow what was quickly becoming clear as her heightened interest in event planning and marketing combined with its impact on public administration and municipal planning. Karen was hired as the organization’s first Executive Director and opened the doors for business in November 1982.

Close to 39 years later Karen is still inspired and encouraged to continue along this path because she knows the work makes a difference on so many levels - for the residents and visitors, for the artistic and creative community, for the local economy and for the city government in the continued development as one of most enjoyable and livable communities in the country. Norfolk’s unwavering commitment to the quality of life for all who are involved and served by the city, and the city’s continued support of Festevents has had a profound impact on her decision to dedicate her life’s work to this cause.

Karen has watched and experienced firsthand the dynamic effect events can make on changing an image and culture of a once vibrant downtown but later considered unsafe and unappealing to visit. Soon after thousands began to throng to the newly renovated waterfront and a host of fresh new events in 1983, commercial office buildings, attractions, restaurants and shops, and new residen-

tial living began to develop downtown.

Today, downtown Norfolk is a world class example of urban development and visitors to the events rate their impressions of Norfolk as “excellent”, with top scores for safety, accessibility and friendliness.

And the event planning strategy continues today to play a major role in the city’s continued success and development.

A proud military and maritime heritage town, some of the most rewarding experiences include hosting the world’s largest naval and tall ships as part of OpSail 2000 and 2012, commissioning the nation’s first Arleigh Burke naval destroyer off the waterfront park in the city’s first civilian based commissioning, hosting the first national tour of the Vietnam moving wall memorial, countless ceremonies that naturalized new citizens and celebrated the reenlistment of hundreds men and women into the armed forces.

Thousands of city celebrations, ground breakings, concerts, festivals, fireworks shows and more have created millions of moments in time that have changed the lifestyle and culture of the community.

Some of Karen’s professional highlights include Festevents recognition by IFEA with multiple IFEA/Haas & Wilkerson Pinnacle Awards over the years, including the Grand Pinnacle Award for OpSail in 2012 and as one of the first IFEA World Festival and Event City Award recipients in 2010. Her work directing Sail Virginia 2007 earned Norfolk the prestigious title by the American Sail Training Association as Port of the Year in 2007.

“Motivated by decades of respected city leaders, guided by a thoughtful Board of Directors, supported by generous donors, sponsors and partners, moved by artists of every imaginable genre, and inspired by dedicated and loyal staff, volunteers, associates, family and friends, I am truly blessed and honored to have been given this wonderful opportunity in life,” says Karen.

“To be associated with Norfolk Festevents, the City of Norfolk and the IFEA for these many years has truly been an extraordinary and once in a life time gift!”

Please help us congratulate our 2014 IFEA Hall of Fame Inductee, Karen Scherberger, CFEE.

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2015Call for Inductees Please submit the following information for your nomination:

A. INDIVIDUAL SUBMITTING NOMINEE 1. Name • Organization • Address • City • State Zip • Phone • Fax • Email 2. If your nominee is selected, will you be willing to help ensure that they attend the luncheon?

3. If your nominee is selected, will you be willing to assist the IFEA and the inductee in gathering materials to prepare their induction video?

B. NOMINEE INFORMATION 1. Name • Position • Address • City • State • Zip Phone • Fax • Email

Known as the associations most prestigious honor, the IFEA Hall of Fame recognizes those outstanding individuals who, through their exceptional work and achievements, have made a significant contribution to the Festivals and Events Industry. The International Festivals & Events Association is now accepting nominations from its members for those individuals who meet this standard for the 2015 Induction Ceremony.

The Hall of Fame Committee will review all nominations and select one or more individuals to be honored in to the IFEA Hall of Fame.

The Honoree (s) will be the guest (s) of the IFEA on an all-expense* paid trip to the 60th Annual IFEA Convention & Expo location and date TBD, where they will be inducted at a reception, in their honor.

NOMINATION CRITERIA Nominations must represent a current or past IFEA member who has made substantial achievements and/or contributions to the festivals and events industry.

Nominees can be retired and represent any facet of our industry (i.e. vendor, supporter, senior professional, etc.).

(Current IFEA Board of Directors and Staff Members are not eligible to be nominated).

C. NOMINATION QUESTIONS • Please answer each of the following questions citing specific examples. Points will be awarded for each question. Points awarded are listed below.

• Please provide up to a 1 (one) page response (single sided) for each of the below questions, for a maximum total of 4 (four) pages.

1. Explain how your nominee has made a difference to the festivals & events industry.

(25 points) 2. Submit a general overview of your nominee’s career, including organizations they have worked for, positions held, titles, awards, etc.

(25 points) 3. Describe the level of involvement your nominee has had with the IFEA during their career.

(25 points) 4. What void would there be if he/she were not an event professional? (25 points) D. ENTRY FORMAT: Please EMAIL your nomination in a Word document.

E. SUBMIT ENTRIES TO: Nia Hovde, Director of Marketing & Communications at nia@ifea.com F. QUESTIONS: Please contact: Nia Hovde – nia@ifea.com +1-208-433-0950 ext: 3 To view a complete list of past inductees and their stories go to the Industry Awards / Hall of Fame section on www.ifea.com.

Nominations should be submitted no later than 5:00 PM (MST) Monday, June 15th, 2015

*Includes hotel and airfare only.

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2015 IFEA / Haas & Wilkerson

Pinnacle Awards Competition Call for Entries Gain the recognition your event deserves…

E

ach year, the International Festivals & Events Association recognizes outstanding accomplishments and top quality creative, promotional, operational and community outreach programs and materials produced by festivals and events around the world, with the Haas & Wilkerson Pinnacle Awards Competition. This prestigious awards competition strives for the highest degree of excellence in festival and event promotions and operations, and in doing so, has raised the standards and quality of the festivals & events industry to new levels.

From events large or small, cities, festivals, chambers, universities, parks & recreation departments, vendors & suppliers, and everything in between, events and promotions of nearly every type and size will have the opportunity to be recognized, as entries are categorized into organizations with similar sized budgets. From best Event Poster, T-Shirt, Hat, Promotional Brochure, Website, TV Promotion and Social Media site to best Volunteer Program, Green Program, Sponsor Follow-Up Report and Media Relations Campaign, there’s a place for almost every element of your event to be recognized.

The IFEA / Haas & Wilkerson Pinnacle Awards have provided many outstanding examples of how event producers can use innovation and creativity to achieve a higher level of success. One of the goals of the IFEA is to promote the professionalism of our members and the festivals and events industry as a whole. Therefore, to add further impact to the winning organizations, the IFEA will provide your organization with a press release template for you to distribute to your media list explaining the award and the competition. Your organization will be recognized for taking part in raising the level of professionalism throughout the industry, while at the same time improving your community.

So what are you waiting for, gather your items, fill out the entry form, and send them off to be judged against the best of the best, in the festivals and events industry. Then get ready to hear your organization’s name announced at the 60th Annual IFEA Convention & Expo, Date & Location TBA. Winter 2014

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THE CONTEST DEADLINES • EARLY BIRD ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JULY 15, 2015 ❍ Entries received on or prior to July 15, 2015 will receive the Member early bird rate of $30 per entry or $75 per Grand Pinnacle entry or the Non-Member early bird rate of $60 per entry or $150 per Grand Pinnacle entry depending on IFEA Membership status.

• FINAL ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JULY 20, 2015 ❍ Entries received between Tuesday, June 16, 2015 and Monday, July 20, 2015 will receive the Member final entry rate of $35 per entry or $100 per Grand Pinnacle entry; or the Non-Member final entry rate of $75 per entry or $200 per Grand Pinnacle entry depending on IFEA Membership status.

ELIGIBILITY • Entries must have been produced and / or used for the first time between July 22, 2014 and July 20, 2015.

• Entries must be submitted in their original format unless previously approved. For Questions Contact: Nia Hovde, nia@ifea.com.

• Payment in full must be received with entries for entries to be deemed eligible.

• Entries and entry forms must be submitted in English.

• Font size for any written text must not be smaller than 10pt.

• To receive the member rate for Pinnacle entries you must be an IFEA member in good standing.

• Each entry form submitted must be completed in its entirety in order for items to be judged eligible.

• Entry must be received at the IFEA Office by the above dates to be eligible.

• Please consider the processing of your credit card or the cashing of your check for your Pinnacle entries, notice that your entries were received and processed.

IMPORTANT NOTES • Items submitted are NOT able to be returned.

• Judges will not refer to items in other categories, nor will they transfer items already judged in other categories (the number of entries must equal the number of categories entered).

• A separate entry form must be submitted for each entry (copy as necessary).

• Multiple entries or categories on a single form will not be accepted.

• For all entries, please paper clip/bull clip entry form to item.

Please do not glue or tape form to item.

• Multiple entries within the same notebook/ bound format/ CD/ USB Drive, will not be accepted. Please separate entries.

• Entries required to be submitted in a “notebook” (Categories 1, 38-68) means that the entry should be submitted in some sort of bound format in order to keep all the materials together. For example, a 3 ring binder; spiral bound; in a report cover or a bound publication with hard/soft covers. Please do not staple or paper clip your entries together.

• UPDATED: If submitting categories 1 or 38-68, in addition to the printed entry you submit, please also submit each entry as a single pdf document (including all supporting materials within that single document.) Please submit PDF on a USB ThumbDrive or Disk. If submitting one or more entries from categories 1 or 38-68, please include all entries on a single USB Thumbdrive/Disk and attach to overall payment form.

• When submitting your total entries, please also submit a high resolution copy of your organization or event logo. Please email to nia@ifea.com – subject “Logo for 2015 Pinnacle Entry – and your event/organization name.”

A HOW TO GUIDE • All categories are listed on the left side of each page • Entry information required for each category is listed under the 78

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specific category on the left (if applicable). This information is unique to that specific category.

• Any supporting questions and supporting material requirements needed for each category or group of categories, is listed on the right side of each page (if applicable.)

THE JUDGES The judges are recognized professionals in the areas of graphic design, promotions and public relations; broadcast, print and online media; and special event planning and management.

SCORING SYSTEM • Categories 1, 38-68 will be judged using a point system for each individual entry. Each entry is scored separately. Scores will not be combined.

• A possible total of 100 points may be awarded to each entry.

• Be sure to answer and include all necessary information for each entry.

• If a required element within an entry is not applicable to your event, please state so within your entry to avoid being marked down on points or indicate what element you have instead.

• The scoring system is not applicable to TV, Radio, Multimedia, Print & some Merchandising categories.

• We are unable to provide you with the points awarded for each of your entries.

• Failure to meet all requirements or answer / provide all necessary information will result in a deduction of points.

THE WINNERS • All finalists for the IFEA / Haas & Wilkerson Pinnacle Awards will be notified by email the last week of August, 2015. Notification will go to the primary IFEA Member in addition to the contact listed on the Awards entry form.

• The 2015 IFEA / Haas & Wilkerson Pinnacle Award winners will be announced at the 60th Annual IFEA Convention & Expo, Date & Location TBA..

• If you are not present at the Awards Presentation to accept your award(s), they will be mailed to you after the Annual Convention.

Expect 3-4 weeks for delivery. If shipping costs for your award exceeds $15 USD, you will be sent an invoice for the shipping charges.

• Organizations submitting entries for the Grand Pinnacle category must register at least one person for the 60th Annual IFEA Convention & Expo, Date & Location TBA. or arrange for a representative to accept any award won on your behalf.

• Gold winning entries will be on display during the 60th Annual IFEA Convention & Expo.

• Winning entries will also be available to view at www.ifea.com shortly after the 60th Annual IFEA Convention & Expo.

RELEASE & USAGE • By submitting your entry to the IFEA / Haas & Wilkerson Pinnacle Award Competition, you automatically grant the IFEA the right to use any materials and / or photos from your entries for editorial, analytical, promotional or any other purpose without additional compensation or permission. In addition, you acknowledge your entry/ies are not returnable. Your entry into the competition is acknowledgment of these terms.

SHIP ENTRIES TO: IFEA Pinnacle Awards Competition International Festivals & Events Association 2603 W Eastover Terrace, Boise, ID 83706, USA Phone: +1-208-433-0950 ext: 3 • Please try to avoid using packing peanuts/popcorn when shipping your entry.

• For packing tips, go to www.ifea.com and then Industry Awards / Pinnacle Awards / 2015 Pinnacle Awards

FREQUENTLY ASKED QUESTIONS As you prepare your entries, you will have many questions. To help answer many of your questions, we have posted our most frequently asked questions on the IFEA website at www.ifea.com / Awards / Pinnacle Awards / 2015 Pinnacle Awards, check back often as we’ll continue to post questions and answers as they come in.

If you have any further questions about the IFEA/Haas & Wilkerson Pinnacle Awards, please contact Nia Hovde at +1-208-433-0950 Ext 3 or nia@ifea.com.

Go to www.ifea.com to find answers to common questions such as: • When you ask for entries in the original format, what does that apply to?

• What do you mean when you say, please provide entries in a ‘notebook’ or ‘bound format’?

• For the more in depth entries (categories 1, 38-68) do I have to answer or provide information for all the criteria and requirements listed under the category?

• Referring to the above question, what if something in a specific category that is required, either does not apply to our event, or we are unable to provide the information required.

• Certain entries ask for budget information, however we aren’t able to reveal certain elements of that information as it is not public knowledge. How can I answer the required information if I’m not able to provide it?

• On certain entries, it says we can only provide 5 examples of supporting materials . . . how can I possibly only provide 5 examples!?

• Why do we need to provide certain entries on disk or Thumbdrive?

• Referring to the above question, am I able to save all of the entries I’m submitting on one disk/Thumbdrive, instead of saving each individually?

• Are we able to enter the same event into multiple categories?

• Are we able to enter multiple items (that are different) in the same category, for the same event?

• I’m not a member of the IFEA, am I still able to enter?

• Can I pay for my entries via a wire transfer?

• How are the Pinnacle Award Entries Judged?

• Why do you not publish the points awarded for each entry in the list of winning entries?

• Who judges the Pinnacle Entries?

• Why aren’t we able to know the names of the judges?

• It looks like there’s even more requirements for some categories . . what specifically do I need to answer for categories 1, 38-68?

• For the above listed categories . . . what order should I list my entry in, in response to the requirements?

• For categories 1, 38-68, that require written information and are also required to be put into a ‘notebook’ or ‘bound format’ be sure to submit the information in that category in the order that it is asked so it’s easier for the judges to compare one entry to another.

• When saving your entry to a disk or Thumbdrive to go along side your individual entry, be sure to save your entry as one document – instead of multiple documents.

• When putting together categories 1, 38-68 that require a lot of work to create . . . if you have time, make 2 copies! What better way to keep a record of what you did each year not only at your event, but also for the next year’s Pinnacles!

• Remember the eligibility period for the pinnacles. Entries must have been produced and/or used for the first time between July 22, 2014 and July 20, 2015. So if you produced an event during that time, or any materials for your event were produced during that time (even if the actual event was outside of that time frame) it’s eligible!

• If you are required to write something for your entry, make sure it is well written and easy to read.

• The more organized your entries are, the easier it is to understand your message.

• With all entries, guide the judges to what you want them to see.

Highlight the important parts.

• Don’t overwhelm the judges with too much information. Summarize the statistics and only display your best footage/news clippings. Quantity is not always quality.

• On categories 1, 38-68 (categories that have a lot of requirements), be sure to have someone that is not closely tied to your event read through your entry to see if everything makes sense.

Sometimes you may be too close to your event and you may not include certain information, since it may be too obvious to you.

But it may be a vital piece of information. If your entry makes sense to an outsider to your event, it should make sense to the judges.

• Many of the judges may not know anything about your event, so make sure your explanations are clear enough so they feel like they have just attended/participated in your program.

• Proof, Proof, Proof!! Yes, we do mark you down for typos!

• When in doubt – ASK. If you’re not sure on something, please contact Nia Hovde +1-208-433-0950 ext: 3 or nia@ifea.com.

QUESTIONS? • Contact: Nia Hovde, Director of Marketing & Communications at Phone: +1-208-433-0950 ext: 3 or Email: nia@ifea.com • For additional information and FAQ’s, go to www.ifea.com/ Industry Awards / Pinnacle Awards

TIPS AND POINTERS Never participated in the Pinnacle Awards Program before? Looking for some helpful tips and pointers on how to enter? Below are just a few tips to hopefully point you in the right direction. Be sure to also review the Pinnacle FAQ’s and the Pinnacle Packing Tips.

• Start Early!

• Don’t wait until the deadlines are almost here to get your entries submitted! If you have time to work on your entries early, do so and then get them in early!

• We will start accepting entries as soon as you want to start sending them in!

• Do not mount any of the merchandise on poster board/foam core/card board etc. It’s much easier for the judges to pick up, look at and perhaps try the items on, if they are standing alone.

• Be sure to read and follow all the criteria and requirements for each entry. The criteria and requirements are always being updated, so be sure to review the changes before you start.

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THE GRAND PINNACLE 1) GRAND PINNACLE The Grand Pinnacle is the highest award given by the IFEA in recognition of those Festivals and Events* who have a balance of all the elements necessary to ensure a successful event. (*Of those events who enter and judged within each of the four separate budget categories.)

ENTRY INFORMATION: For entry, please provide a detailed description to each section requested within: 1. Introductory Information 2. Additional Requirements 3. Supporting Materials 4. Supporting Questions • Submit entire Grand Pinnacle Entry within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as 1 (one) document) on a CD or Thumbdrive. Attach CD or Thumbdrive to overall payment form.

(Okay to submit all of your Pinnacle entries on 1 (one) CD or Thumbdrive.)

• Please submit your entry in the order listed here.

• Points will be awarded to the individual sections of your entry, in addition to the overall Judges Criteria points.

1. Introductory Information: (10 points) Within a maximum of 4 pages (total), provide an overview of your event, stating your event’s: a. Event Dates b. Purpose / Mission c. History/Description of Event d. Types of Activities Included Under the Festival / Event Umbrella e. Overall Revenue and Expense Budget f. Estimated Economic Impact g. Attendance Numbers & Demographics h. Volunteer Count & Demographics i. Staffing Numbers and Positions j. Founding / Incorporation Date and Management System (i.e.: 501(c)3 non-profit staff & volunteer board; city managed; profit-making partnership, etc.)

2. Additional Requirements: (40 Points) Include a detailed overview of each of the sections listed below (a-e*) for your festival / event, using no more than two (2) pages for each section.

• Make each section a separate tab in entry in order for the judges to clearly identify them.

• If your festival/event does not include one or more of the sections listed below, please provide an overview as to why your event does not include that element, or what you provide instead, so as not to lose points. a. Promotional/Marketing Campaign & Media Outreach (Includes but not limited to: What was your overall message/ slogan/image that you projected for your event this year? What was your target population, who received the message, what types of mediums did you utilize and who promoted your message. ) b. Website / Social Media / Multi-Media Program /Campaign c. Overall Sponsorship Program (Provide an overview of your overall sponsorship program – how many sponsors, who are they and what do they sponsor and total sponsorship funds.) d. Critical Component Programs *Provide up to a one (1) page description for each of the following programs (if not applicable, please state as such and/or what your festival/event has in its place.)

• Volunteer Program • Green Program 80

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• • • •

Educational Program Children’s Program Food & Beverage Program Entertainment Program (music, artists, theatre, performers etc.)

• Merchandise Program • Community Outreach Program • Emergency Preparedness Program e. Descriptions of any other Special Programs unique to your event.

3. Supporting Materials: (10 Points) • Please also include any necessary supporting materials for the festival/event - limiting materials to no more than 5 examples for each area in the 2.) Additional Requirements section (if applicable) (a-e).

• Supporting materials may be placed within a specific section of the entry, or at the end.

4. Supporting Questions: (10 points) Please answer the following questions.

(Maximum of 1 page per question) a. What did you do to update / change the event from the year before? Were your updates / changes successful? ❍ If the event is a new event, please answer the following question instead: • “What challenges / obstacles did you foresee / encounter in creating the event, and how did you handle them?” b. Please provide measurable results / examples for question (a). c. What makes the event stand out as an internationally recognized event? d. Why should the event win the IFEA / Haas & Wilkerson Grand Pinnacle Award?

Judging Criteria: (30 points) The Grand Pinnacle Entry will be judged based on the following criteria. Please refer to the Entry Information for further details. The following Judging Criteria is applicable to both the individual entry and the overall event.

• Is the entry / event well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / event designed and laid out well?

• Is the event creative and / or unique?

• Does the entry relay the image of the event?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Does the entry match the purpose / mission for the event?

• Have all requirements been met?

Additional Notes: • Be sure to answer and provide information for every section and area listed in the entry requirements. Failure to provide information for each section / element will result in a deduction of points. If a required element is not applicable to your event, please state as such and/or what your festival/event has in its place.

• This entry is separate from all other categories and divisions. Judges will not refer to, or transfer items from other categories.

• Organizations submitting entries for the Grand Pinnacle category must register at least one person for the 60th Annual IFEA Convention & Expo, Date & Location TBA. or arrange for a representative to accept any award your behalf.

CATEGORIES TELEVISION & RADIO ENTRIES 2)

BEST TV PROMOTION

3)

BEST FULL LENGTH TV PROMOTION

4)

BEST FULL LENGTH TV PROGRAM

5)

BEST EVENT VIDEO

6)

BEST RADIO PROMOTION

(Ad Spot or PSA)

(Local Programming)

(National Promotion / Syndication) (For Sale)

(Ad Spot or PSA)

ENTRY INFORMATION FOR CATEGORIES 2-7: • All TV/video entries should be encoded for Region 1 or Region 0 DVD capabilities. Submit entry on a DVD or Thumbdrive. Entry should be viewable in Windows Media Player or QuickTime.

(Please do not submit Blu-Ray Disks.)

• All Radio entries should be submitted on a CD or Thumbdrive (not a DVD) Entry should preferably be submitted as a wave file or MP3 file.

• Label DVD / CD / Thumbdrive and attach entry form to case.

• Only one video/radio spot per DVD / CD / Thumbdrive.

Submit EACH entry SEPARATELY. DO NOT combine multiple entries on DVD / CD / Thumbdrive.

• These are standalone items and no written information is required.

• Make all DVD’s / CD’s set to Auto Play.

Judging Criteria: • Does the entry relay the image of the event?

• Is the item creative and / or unique?

• Is the message clear?

• Is the item organized?

• What is the “Usability” factor?

• What is the overall impression?

MULTIMEDIA ENTRIES 7)

BEST EVENT WEBSITE

8)

BEST ORGANIZATION WEBSITE

9)

BEST EVENT / ORGANIZATION E-NEWSLETTER

(Submit web address only – clearly print website address on entry form under section 3.)

(Submit web address only – clearly print website address on entry form under section 3.)

(Clearly print or type a link to download materials on entry form under Section 3. Submit 3 consecutive issues.)

10) BEST MISCELLANEOUS MULTIMEDIA

(Includes, but is not limited to items such as: Screen Savers, Live Web-casts, Electronic Billboards, etc. Submit in format used. Preferable method for Videos is a YouTube link. Only one multimedia item per entry. Clearly print or type link on entry form under Section 3 - type on separate sheet of paper if necessary - or submit on Thumbdrive.)

ENTRY INFORMATION FOR CATEGORIES 7-12: • For categories 7, 8, 11 & 12 site will be reviewed online by judges.

• Be sure to make the website link go to exactly where you wish the judges to go first.

• Refer to any additional entry information listed next to each category.

• These are standalone items and no written information is required.

Judging Criteria: • Does the entry / item relay the image of the event?

• Is the item creative and / or unique?

• Is the message clear?

• Is the entry / item organized?

• What is the “Usability” factor?

• What is the overall impression?

11) BEST SOCIAL MEDIA SITE

(Submit Social Media Site Address – clearly print address on entry form under section 3.)

12) BEST FESTIVAL / EVENT MOBILE APPLICATION

(Submit web address or instructions on how to obtain the App, clearly print address on entry form under Section 3.)

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CATEGORIES PROMOTIONAL PRINTED ENTRIES 13) BEST EVENT PROGRAM 14) BEST NEWSPAPER INSERT / SUPPLEMENT 15) BEST PROMOTIONAL BROCHURE 16) BEST EVENT / ORGANIZATION NEWSLETTER (Submit three consecutive issues.)

17) BEST MISCELLANEOUS PRINTED MATERIALS (MULTIPLE PAGE)

(Includes but not limited to: direct mail brochures, cookbooks, annual reports, etc. - One item per entry.)

18) BEST MISCELLANEOUS PRINTED MATERIALS (SINGLE PAGE)

(Includes but not limited to direct mail pieces, rack cards, fliers, maps, etc. Only one item per entry.

Mounting on Poster board, optional)

19) BEST COMPANY IMAGE PIECES

(Includes but is not limited to: Letterhead, envelopes, logo, etc.). (One item per entry)

20) BEST COVER DESIGN

(Submit cover only – mounted on poster board.

Covers of Magazine, Newspaper, Brochures, Programs all acceptable.)

21) BEST SINGLE NEWSPAPER DISPLAY AD (Submit entry mounted on poster board.)

22) BEST SINGLE MAGAZINE DISPLAY AD (Submit ad mounted on poster board.)

23) BEST AD SERIES

(Submit a maximum of 5 ads.) (If possible, mount all ads one same poster board.)

24) BEST PROMOTIONAL POSTER

(For posters not for sale at Festival or Event but used for promotional purposes to promote event) (Do not mount.

Submit in poster tube.)

25) BEST COMMEMORATIVE POSTER

(For posters specifically for sale at festival or event.)

(Do not mount. Submit in poster tube.)

26) BEST EVENT PROMOTIONAL PHOTOGRAPH

(Promotional photograph for your event) (Photo Dimensions: 8 inches x 10 inches. Submit photo mounted on Poster board - 2 inch margins.)

27) BEST OUTDOOR BILLBOARD

(Submit photo or print out of billboard, mounted on poster board.)

28) BEST EVENT INVITATION

(Single or Multiple Page. Do NOT mount this category on

poster board.)

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ENTRY INFORMATION FOR CATEGORIES 13-17: • These are stand alone items and no written information is required.

• Submit each entry in original format if possible • Submit categories 13-17 with the entry form securely paper clipped/bull clipped to the back.

• Do not mount on display board.

Judging Criteria • Does the entry relay the image of the event?

• Is the item creative and / or unique?

• Is the item designed / laid out well?

• Is the message clear?

• Is the item organized?

• Is the item usable / functional?

• What is the overall impression?

ENTRY INFORMATION FOR CATEGORIES 18-28: • Submit categories 18-23, 26-27 each mounted on a single, black display board with a maximum of 2 inch margins.

• Submit categories 24-25 each rolled up in a poster mailing tube. Do not fold the poster. Do not mount the poster on poster board.

• Only one entry per board.

• These are standalone items and no written information is required.

Judging Criteria • Does the item / entry relay the image of the event?

• Is the item creative and / or unique?

• Is the item designed / laid out well?

• Is the message clear?

• Is the item organized?

• Is the item usable / functional?

• What is the overall impression?

CATEGORIES EVENT DÉCOR & AMBIANCE ENTRIES 29) BEST STREET BANNER

(Submit photo or printouts of banner only, mounted on poster board. Do not send actual banner.)

30) BEST MISCELLANEOUS ON-SITE DECOR

(Includes but is not limited to: directional signage, stage backdrops, entryways, flags, inflatables, etc.)

(Submit only one decor item per entry.)

(Submit photo of decor, mounted on poster board.)

ENTRY INFORMATION FOR CATEGORIES 29-30: • Submit categories 29-30 each mounted on a single, black display board with a maximum of 2 inch margins.

• Only one entry per board.

• These are standalone items and no written information is required.

Judging Criteria: • Does the item / entry relay the image of the event?

• Is the item creative and / or unique?

• Is the item designed / laid out well?

• Is the message clear?

• Is the item organized?

• Is the item usable / functional?

• What is the overall impression?

MERCHANDISE ENTRIES For merchandise sold at Festival / Event / Organization.

31) BEST T-SHIRT DESIGN

(Does not include Tank Tops, Long-Sleeve T-Shirts or Collared/Polo Shirts)

32) BEST PIN OR BUTTON

(Please mount pin on poster board with 2 inch margins maximum.) (For single pins only, no pin sets.)

33) BEST HAT 34) BEST OTHER MERCHANDISE

(For merchandise other than T-shirts, pins, hats etc. that you have for sale at your festival/event.)

35) BEST MISCELLANEOUS CLOTHING

(i.e. - jackets, sweatshirts, long-sleeve t-shirts, polo shirts, tank tops, socks, scarves, etc.)

ENTRY INFORMATION FOR CATEGORIES 31-37: • Submit actual merchandise items for categories 31- 37 as is.

• These are standalone items and no written information is required.

• Do not mount merchandise items on poster board – except Best Pin or Button.

Judging Criteria: • Does the entry / item relay the image of the event?

• Is the item creative and / or unique?

• Is the message clear?

• Is the entry / item organized?

• What is the “Usability” factor?

• What is the overall impression?

36) BEST NEW MERCHANDISE

(New merchandise to your festival/event/organization within the past festival season.)

37) BEST SPONSOR GIFT

(A gift a festival/event gives to a sponsor of their festival/event.)

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CATEGORIES SPONSORSHIP ENTRIES 38) BEST TARGETED SPONSOR SOLICITATION PROPOSAL

(Actual Sponsorship Proposal that was used to target a specific sponsor for your festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following using no more than one (1) page per section: a. Introduction and description of main event. b. Name of Sponsor c. Introduction, effectiveness and success of Sponsor solicitation package

2. Supporting Materials: a. Please provide a sponsor solicitation package that was actually used to target a specific sponsor.

• Provide in the format used to present to the sponsor and with any other additional materials that were sent with the proposal. (Okay to substitute name of sponsor for generic name for confidentiality, however please make it clear on your entry you are doing this.)

39) BEST INDIVIDUAL SPONSOR FOLLOW-UP REPORT

(Actual Follow-Up Report that was generated for a specific sponsor for your festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following using no more than one(1) page per section: a. Introduction and description of main event. b. Name of Sponsor c. Introduction and effectiveness of Sponsor follow-up report 2. Supporting Materials: a. Please provide a sponsor follow-up report that was actually sent to a specific sponsor.

• Provide in the format used to present to the sponsor and with any other additional materials that were sent with the report. (Okay to substitute name of sponsor for generic name for confidentiality, however please make it clear on your entry you are doing this.)

40) BEST SPONSOR PARTNER

(Entry should highlight a specific sponsor that stands out above all others.)

1. Overview Information: Please provide a detailed overview explaining the following using no more than one (1) page per section: a. Introduction & description of main event b. Name of Sponsor c. Description of sponsor; level of sponsorship (cash/in-kind); details of benefit package and length of sponsorship/ partnership d. Quantity and quality of support to event by sponsor e. Goals and success of relationships for both event and sponsor f. How the sponsor stands out over all other sponsors. g. Activation of Sponsorship by Sponsor ENTRY INFORMATION FOR CATEGORY 40: • Submit category 40 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

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ENTRY INFORMATION FOR CATEGORIES 38-39: • Submit category 38-39 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For each entry, please provide detailed information to the following: 1. Overview Information (20 points) Please provide the required information listed under the specific category to the left.

2. Supporting Materials: (50 points) Please provide materials listed under the specific category to the left.

Supporting materials should be placed at the end of the entry.

3. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the item / entry well organized?

• Is the content professional?

• Is the message clear?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

• Would you recommend or support this opportunity if in a position to do so?

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left.

2. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry well organized?

• Is the content professional?

• Is the message clear?

• What is the overall impression?

• Have all requirements been met?

CATEGORIES SPONSORSHIP ENTRIES 41) BEST SINGLE NEW SPONSORSHIP OPPORTUNITY

(New activity / program within an Event created specifically to recruit a new sponsor or created after a new sponsor came on board.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Name of Opportunity and Sponsor c. Description and purpose of New Sponsorship Opportunity d. Description of the targeted sponsor for the opportunity and why the sponsor was targeted e. Explain the synergy between the event and sponsor f. Overall effectiveness / success of the sponsorship 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

42) BEST SPONSORSHIP PROGRAM FOR INDIVIDUAL SPONSOR

(Activity or program within a Festival or Event created for a specific sponsor.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Name of Program and Sponsor c. Description and purpose of event/program being sponsored d. Description of sponsor; level of sponsorship (cash/in-kind); details of benefit package and length of sponsorship/ partnership e. Overall effectiveness / success of the program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

43) BEST OVERALL SPONSORSHIP PROGRAM

(Entry should focus on the entire sponsorship program for all sponsors for the entire event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description of overall Sponsorship Program c. List of all current sponsors for event; levels of support; longevity of each d. Available benefit packages and valuation formulas e. Description of sponsor research targeting and sales process f. Description of sponsor service team and steps taken when new agreement is signed. g. Describe current sponsor renewal process & retention rate h. Overall effectiveness / success of the program i. Supporting Materials: Please provide a copy of Sponsor Agreement Sales Packet / Proposal; a copy of Sponsorship Follow Up Report and a sample of Sponsor Agreement 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 41-43: • Submit category 41-43 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead: “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program. Supporting materials should be placed at the end of the entry. Please limit your supporting materials to those actually sent / used with sponsor: • Printed materials (brochures / programs etc.)

• Promotion / marketing / media materials • Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the program / entry well organized?

• Is the content professional? Is the message clear?

• Is the program / entry designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

• Would you recommend or support this opportunity if in a position to do so?

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CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 44) BEST VOLUNTEER PROGRAM

ENTRY INFORMATION FOR CATEGORIES 44-45:

(For overall Volunteer Programs at an Event/Festival/ Organization)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section, together with applicable examples: a. Introduction and background of main event b. Description and purpose / objective of Volunteer Program c. Target audience / attendance / number of participants d. Duration of program (start to finish) and years program has been part of event e. Volunteer demographics (age, gender, individuals, charities, schools etc.) f. Volunteer job descriptions g. Recruitment methods / materials / applications h. Communication methods / materials i. Training guides / programs / handbooks / materials j. Organization & schedule information / materials k. Volunteer perks / benefits l. Appreciation / recognition methods/ materials m. Retention methods / materials n. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) o. Overall revenue/expense budget of program p. Overall effectiveness / success of program q. Measurable results: ratio of volunteers to guests; # of volunteers; # of volunteer hours; # of volunteers in database; estimate of the financial value of your volunteers.

2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

45) BEST GREEN PROGRAM

(For festivals/events with implemented green/recycling programs at their event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Green Program c. Target audience / attendance / number of participants d. What “Green” initiatives were used at event (i.e. – recycling; alternative methods of transportation; renewable energy etc.) e. How were initiatives promoted to the public? Include marketing materials. f. Education programs pertaining to green program (for public, sponsors, volunteers etc.) g. How was green program enforced / encouraged, tracked, and staffed? h. Who assisted green program (vendors, volunteers etc.) i. Measurable results – how much was recycled; savings / cost of Green program; carbon footprint reduction j. Non-tangible results: education; awareness; involvement etc. k. Duration of program (start to finish) and years program has been part of event l. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) m. Tie-in of program to main event n. Overall revenue/expense budget of program o. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

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• Submit categories 44 & 45 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead.

• “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry.

• Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.)

• Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants / volunteers / sponsors / students / charities etc.

• Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional? Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 46) BEST EDUCATIONAL PROGRAM

(For festivals/events who have a specific educational component built into their programming.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Educational Program c. Target audience / attendance / number of participants d. Provide a detailed description of the education program / curriculum e. Who provided the education and in what setting f. Involvement by local educational institutions and professional education (if any) g. What was the take-away for attendees / participants? h. Duration of program (start to finish) and years program has been part of event i. Tie-in of program to main event j. Overall revenue/expense budget of program k. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) l. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

47) BEST CHILDREN’S PROGRAMMING (For festivals/events who have specific programming for Children) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Children’s Program c. Target Audience / main target age group d. Attendance / number of participants e. Activities /entertainment provided f. Local School involvement g. Tie-in of program to main event h. Overall revenue and expense budget of specific program / event i. Description of sponsor / charity / volunteer / school / other group involvement with event / program and benefits to each (if applicable) j. Duration of program (start to finish) and years program has been part of event k. What makes the program unique and creative? l. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

48) BEST COMMUNITY OUTREACH PROGRAM

(Programming done throughout the year to benefit and help include all parts of the community, while enhancing the image and brand of your event/organization throughout the year.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Outreach Program c. Target audience / attendance / number of participants d. Impact program had on the community e. Tie-in of program to main event f. Duration of program (start to finish) and years program has been part of event g. Overall revenue/expense budget of specific program h. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

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ENTRY INFORMATION FOR CATEGORIES 46-48: • Submit categories 46, 47, 48 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive.

Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead.

• “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry.

• Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.)

• Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants / volunteers / sponsors / students / charities etc.

• Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional? Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

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FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 49

BEST EVENT / PROGRAM WITHIN AN EVENT TO BENEFIT A CAUSE

(Entry may include fundraising programs as well as awareness programs.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Event/Program c. Description of selected cause and why/how it was selected d. Target audience / attendance / number of participants e. Tie-in of program to main event f. Duration of program (start to finish) and years program has been part of event g. Overall revenue/expense budget of specific event/program h. Description of sponsor / charity / volunteer / school / other group involvement with event / program and benefits to each (if applicable) i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

50) BEST EVENT (WITHIN AN EXISTING FESTIVAL) (Entry to highlight a specific event that is held during the course of a larger festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Event within Festival c. Target audience and attendance / number of participants d. Overall revenue/expense budget of event e. Tie-in of program to main festival f. Duration of program (start to finish) and years program has been part of event g. Description of sponsor / charity / volunteer / school / other group involvement with event and benefits to each (if applicable) h. What makes the event unique & creative? i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

51) BEST EMERGENCY PREPAREDNESS & RISK MANAGEMENT PLAN FOR AN EVENT

(Entry to focus on the overall risk management / emergency preparedness plan for a specific festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Risk Management Plan c. Target audience / attendance / number of participants d. Overall revenue and expense budget of specific program / event e. Duration of program (start to finish) and years program has been part of event f. Description of sponsor / charity / volunteer / school / other group involvement with event / program and benefits to each (if applicable) g. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry. ❍ Please submit a detailed documentation of the security plan used at your event

52) BEST FOOD & BEVERAGE PROGRAM

(Entry to focus on the overall food and beverage opportunities available during the course of a specific festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Food & Beverage Program c. Number and types of vendors d. Site Plan (i.e.: Food Courts, Crowd Flow etc.) e. Cash Management Process f. Fee Structures g. Alcohol Beverage Training/Control h. Vendor Application Process i. Festival/Event Controlled Products & Services (i.e.: Festival-only controlled product sales, Vendor required product use, etc.) j. Promotional activities to drive business k. Power/Water Access l. Waste Disposal 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 49-52: • Submit categories 49, 50, 51, 52 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead. ❍ “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. ❍ Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.) ❍ Promotional / marketing / media materials ❍ Merchandise materials (photographs accepted) ❍ Information provided to participants / volunteers / sponsors / students / charities etc. ❍ Supporting photographs ❍ Measurable results: tangible & intangible 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional? Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 53)

BEST NEW EVENT

(For festival or event created from scratch within the past year.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of New Event c. Target audience and attendance / number of participants d. Overall revenue/ expense budget of event e. Duration of program (start to finish) f. Description of sponsor / charity / volunteer / school / other group involvement with event and benefits to each (if applicable) g. What makes the event unique & creative? h. Overall effectiveness / success of event 2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

54)

BEST NEW PROMOTION ACTIVITY

(Entry should focus on a specific promotion done by festival/event/vendor/supplier to promote a product, service, event, company, entertainment etc.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event/organization b. Description and purpose / objective of Promotion c. Description of what was being promoted (merchandise, event, company, entertainment; etc.) d. What makes this promotion different from any other promotions? e. Target audience for promotion f. Attendance / number of participants (if applicable) g. Tie-in of promotion to main event/organization h. Overall revenue and expense budget of specific promotion i. Duration of promotion (start to finish) j. Description of sponsor / charity / volunteer / school / other group involvement with event/ organization and promotion and benefits to each (if applicable) k. Overall effectiveness / success of promotion 2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

55)

BEST NEW ATTENDEE SERVICE

56)

BEST MONEY-MAKING IDEA

(Any product or service designed with the intent of enhancing the attendee experience at a festival or event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Description of new product or service b. Goals & objectives of product or service c. Application of product or service at an event d. Overall effectiveness of product or services e. Target market for product or service f. Measurable results: tangible & intangible 2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

(Entry should focus on a specific idea implemented at a festival/event that generated revenue.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description of money-making idea c. Target audience (if applicable) d. Attendance / number of participants (if applicable) e. Mediums used to promote idea (if applicable) f. Tie-in of promotion to main event/organization g. Overall revenue and expense budget of specific idea h. Overall effectiveness / success of idea 2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 53-56: • Submit categories 53, 54, 55, 56 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question (10 points) • What challenges/obstacles did you foresee/encounter in creating the program/activity/idea, and how did you handle them?

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable).

Supporting materials should be placed at the end of the entry.

• Printed materials (brochures, handbooks, signage, etc.)

• Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants • Supporting photographs • Measurable results: tangible & intangible 3. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional? Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 57) BEST OVERALL MERCHANDISING PROGRAM

(Entry should focus on the entire merchandising program for the entire festival/event/organization.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of event b. Description of merchandising program c. Overall revenue and expense budget for merchandise lines d. Target market for merchandise program (population / location) e. Marketing efforts tied to merchandise program f. Community support in selling / distributing merchandise g. Measurable results (Including number / variety of items; number of outlets selling items, etc.) h. Overall effectiveness of merchandise program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORY 57: • Submit category 57 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For entry, please provide detailed information to the

58) BEST VENDOR / SUPPLIER

(Entry should highlight a specific vendor or supplier to the festival/event that stands out above all others.)

(Festival or Event must submit this entry)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Description of vendor / supplier b. How the vendor / supplier stands out over all other vendor / suppliers c. Quantity and quality of service and support to event by Vendor / Supplier d. Length of relationship between vendor and event e. Tangible benefits of relationship to both event and vendor.

ENTRY INFORMATION FOR CATEGORY 58: • Submit category 58 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

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following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead: “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please include a sample selection of actual merchandise items available.

• Also include photographs of all merchandise items available in your merchandise program.

• Supporting materials should be placed at the end of the entry.

4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

For entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left.

2. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry well organized?

• Is the content professional?

• Is the message clear?

• What is the overall impression?

• Have all requirements been met?

CATEGORIES MEDIA RELATIONS ENTRIES For effective media campaigns that generated news coverage, instead of paid or donated advertising time.

59) BEST PRESS / MEDIA KIT

(For festivals/events/organizations to not only provide actual press/media kit used, but to demonstrate its effectiveness and use.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of campaign / event b. Provide actual media kit used to send out for your event c. Target audience / demographics for the media d. Target location (communities / cities / states) for media e. Types of mediums used for media outreach f. Measurable results indicating: • Number of publications / cities / states targeted • Percent of distribution that covered news • Longevity of media coverage • Increase / decrease in media from previous years 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

60) MOST CREATIVE / EFFECTIVE NEWS STUNT (For Festivals/Events/Organizations who generated publicity through a media stunt to promote their event/cause etc.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of campaign / event b. A detailed description of the news stunt c. How did the news stunt fit in to the overall media campaign for your event? d. Sponsor / charity involvement (if any) and why e. Was there an increase in media coverage for your event as a result of the stunt?

2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

61) BEST MEDIA RELATIONS CAMPAIGN (Entry should focus on the entire media relations campaign for a specific festival or event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of campaign / event b. Purpose / objective of the media relations campaign c. A detailed outline of your entire media relations campaign for your event. d. Target audience / demographics for the media e. Target location (communities / cities / states) for media f. Types of mediums used for media outreach g. Measurable results indicating: ❍ Number of publications / cities / states targeted ❍ Percent of distribution that covered news ❍ Attendance results based on media outreach / campaign ❍ Income results based on media outreach / campaign ❍ Longevity of media coverage ❍ Increase / decrease in media from previous years. h. Overall effectiveness of the campaign 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 59-61: • Submit categories 59, 60, 61 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this promotion from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the promotion is a new promotion, please answer the following question instead.

• “What challenges / obstacles did you foresee / encounter in creating the promotion, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry.

• Printed materials (press releases, news clippings, etc.)

• Promotional materials • Video / audio documentation (Please limit to 1 example – provide written explanation of further examples) • Supporting photographs 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / campaign well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / campaign designed and laid out well?

• Is the campaign creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

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CATEGORIES EDUCATIONAL INSTITUTIONS OFFERING EVENT MANAGEMENT PROGRAMS 62) BEST EVENT MANAGEMENT ASSOCIATE DEGREE

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Associate Degree c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

63) BEST EVENT MANAGEMENT BACHELOR DEGREE

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Bachelor Degree c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

64) BEST EVENT MANAGEMENT CERTIFICATION PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Certification Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 62-64: • Submit categories 62, 63, 64 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question (10 points) • What did you do to update/change the Degree from the year before? Were your updates/changes successful? Please providw measurable results/examples.

• If the Degree is a new program, please answer the following questions instead: • What challenges/obstacles did you foresee/encounter in creating the program and how did you handle them?

3. Supporting Materials: (10 points)

Please also include any and all of the following Supporting Materials.

Supporting materials should be placed at the end of the entry.

• Student recruiting materials • Student application materials • Marketing materials for program • Complete outline and syllabus of course(s) • Reading requirements list for students • Sample testing Materials 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

CATEGORIES EDUCATIONAL INSTITUTIONS OFFERING EVENT MANAGEMENT PROGRAMS 65) BEST ONLINE EVENT MANAGEMENT TRAINING PROGRAM 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Online Event Management Training Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

66) BEST FESTIVAL & EVENT MANAGEMENT MASTERS PROGRAM 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Festival & Event Management Masters Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

67) BEST FESTIVAL & EVENT MANAGEMENT PHD PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Festival & Event Management PhD Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Question - Anwser question listed to the right, here.

3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 65-67: • Submit categories 65, 66, 67 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question (10 points) • What did you do to update/change the Degree from the year before? Were your updates/changes successful? Please providw measurable results/examples.

• If the Degree is a new program, please answer the following questions instead: • What challenges/obstacles did you foresee/encounter in creating the program and how did you handle them?

3. Supporting Materials: (10 points)

Please also include any and all of the following Supporting Materials.

• Supporting materials should be placed at the end of the entry.

• Student recruiting materials • Student application materials • Marketing materials for program • Complete outline and syllabus of course(s) • Reading requirements list for students • Sample testing Materials 4. Judging Criteria: (30 points) • Is the entry / program well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

CATEGORIES JUST FOR FUN 68) BEST PROMOTION PUBLICIZING AN IFEA / HAAS & WILKERSON PINNACLE AWARD WIN

ENTRY INFORMATION FOR CATEGORY 68: • Submit category 68 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Describe the promotion that took place to celebrate your IFEA/Haas & Wilkerson Pinnacle Award win.

For entry, please provide detailed information to the following:

(No Charge to enter this Category) Were you recognized for your outstanding accomplishments with an IFEA/Haas & Wilkerson Pinnacle Award last year?

Gain further recognition for your award and event by promoting your Pinnacle Win, and then share with us what you did!

2. Supporting Questions: Please answer the following supporting questions, using no more than one (1) page for each question: a. What has winning an IFEA / Haas & Wilkerson Pinnacle Award meant to your event? b. How have you used winning an award(s) to your advantage? c. How has winning an award(s) enhanced your presence within your community? d. How has winning an award(s) increased leverage / funding / sponsorship for your event?

3. Supporting Materials: Please also include any and all of the following supporting materials – limiting it to no more than 5 examples of each: • Promotion materials used to promote award • Media clippings from promotion • Examples of IFEA / Haas & Wilkerson Pinnacle Winner logo placement

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1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) Please answer questions listed under specific category to the left.

3. Supporting Materials: (10 points) Please provide materials listed under the specific category to the left. Supporting materials should be placed at the end of the entry.

4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / promotion well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / promotion designed and laid out well?

• Is the promotion creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

ENTRY FORM REQUIREMENTS

• Please submit one overall entry form with total payment - list all en-

2015

AWARDS

tries submitted on this form. (Be sure to complete sections 1 & 4.)

• Please also submit TWO copies of each individual entry form •

RELEASE AND USAGE

By submitting your entry to the IFEA / Haas & Wilkerson Pinnacle Awards, you automatically grant the IFEA the right to use any materials from your entries for editorial, analytical, promotional or any other purpose without additional compensation. In addition, you acknowledge your entry / ies are not returnable. Your entry into the competition is acknowledgment of these terms.

• •

– one to be attached to each individual entry – and one to be submitted with payment and overall entry form. (Complete sections 1, 2, 3 on each entry form.) Be sure payment information is NOT filled out on these copies.

If one organization is entering items for multiple events produced, please submit a separate payment form / overall entry form for each event to allow for proper credit to be given to that event.

Please be sure to PRINT your organization, event, sponsor or program name clearly and correctly - as this is how it will appear on any award if won.

NEW - Please email a high resolution copy of your organization or event logo to nia@ifea.com - subject “2015 Pinnacle Entry Logo” & Your Event / Logo Name.

Sections 1, 2 and 3 must be completed twice for each entry. One copy attached to each individual entry, and one copy attached to payment form.

1. ENTRANT INFORMATION (Required for each entry) (Tip: Complete Section 1. Then make copies to complete form for each entry.)

How you list your organization / event name will be how it is listed on any award won. PLEASE PRINT CLEARLY. Organization: ________________________________________________________________________ Membership #: ____________________________ Name of Event (if different from organization): ________________________________________________________________________________________ Name of Specific Program and/or Program Sponsor (applies to Categories 38-68): ________________________________________________________ Address (Do not list P.O. Box): ____________________________________________________________________________________________________ City: ____________________________________ State: _____ Zip Code: _____________________ Country: __________________________________ Contact Person: _________________________________________________________________________________________________________________ Phone:______________________________________________ E-mail: ____________________________________________________________________ Website: _______________________________________________________________________________________________________________________ 2. BUDGET INFORMATION (Required for each entry) Organization’s Event Expense Budget: (USD, include all cash outflows). Each entry category is divided into the budget categories below. Gold, Silver and Bronze Awards will be given in each budget category unless the number of entries warrants budgets to be combined, or as determined by the judges. under $250,000

$250,000 - $749,999

$750,000 - $1.5 million

over $1.5 million

3. ENTRY INFORMATION (Required for each entry) Category Name (required): _____________________________________________________________ Category Number (required): ________________ Entry Description: _______________________________________________________________________________________________________________ (Provide brief identifying description for each entry or Name of your specific Program being entered, Sponsor Name, web address etc.)

Complete section 4 ONCE. Attach payment for all entries combined.

4. PAYMENT INFORMATION

Total Categories Entered: List which categories you are entering and how many of each. This is so we can account for all of your entries when they arrive. (e.g. 1, 2, 2, 3, 5, 7…): ___________________________________________________________________________________________________________ Entries received with payment by 5:00 p.m. July 15, 2015 (MST) will receive the Member early bird rate of $30 per entry or $100 per Grand Pinnacle Entry; or the Non-Member early bird rate of $60 per entry or $150 per Grand Pinnacle entry, depending on IFEA Membership Status. Entries received between June 16, 2015 and July 20, 2015 will receive the Member final entry rate of $35 per entry or $100 per Grand Pinnacle entry; or the Non-Member final entry rate of $75 per entry or $200 per Grand Pinnacle entry, depending on IFEA Membership Status. Questions: Contact nia@ifea.com.

Early Bird Member Rates (Before July 15, 2015)

Final Entry Member Rates (June 16 - July 20, 2015)

Early Bird Non-Member Rates (Before July 15, 2015)

Final Entry Non-Member Rates (June 16 - July 20, 2015)

Grand Pinnacle:

$75 x _____= $_______

$100 x _____= $_______

$150 x _____= $_______

$200 x _____= $_______

Pinnacle Entries: (Categories 2-67)

$30 x _____= $_______

$35 x _____= $_______

$60 x ______= $_______

$75 x ______= $ _______

Category #68: $ 0 x _____ = $_______ (Just for Fun Category) TOTAL NUMBER OF ENTRIES: __________________________ TOTAL AMOUNT ENCLOSED: $ _____________________________________ Check (Make checks payable to IFEA)

Visa

MasterCard

American Express

Print Cardholder Name: __________________________________________________________________________________________________________ Signature: ______________________________________________________________________________________________________________________ Credit Card Number:_____________________________________________________________________________________________________________ Expiration Date: _____________________________________________ CVN Code: ______________________(MC / VISA-3 digit code back) (AMX-4 digit code front) DID YOU REMEMBER TO Include your payment for total entries along with 1 overall entry form listing each category number entered Include 2 individual entry forms for each item – one Include each entry (as requested) on a disk or Thumbdrive attached to payment form. with item, one with payment, do not list payment details on these forms Email organization / event logo to nia@ifea.com Review all rules for entry submission – go to: Pinnacle Awards section at www.ifea.com for more info.

International Festivals & Events Association • 2603 W Eastover Terrace • Boise, ID 83706 U.S.A. • phone: +1.208.433.0950 • fax: +1.208.433.9812 • web: www.ifea.com

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C O N G R AT U L AT I O N S to our 2014 Grand Pinnacle Winners Gold • Grand Pinnacle • Budget: Under $250,000 BorderFest Association • Festival of Lights • Hidalgo, TX U.S.A. Twenty-three years ago, the City of Hidalgo (population 2,200) community leaders came together at a Chamber of Commerce Retreat to discuss their vision and mission for the community. The discussions focused on finding a way to stand out from the larger nearby cities in the Rio Grande Valley and to give people a reason to come to Hidalgo. The community wanted to give vehicles traveling through Hidalgo a reason to stop, visit, shop and enjoy. The fact that Hidalgo is home to the Hidalgo-Reynosa-McAllen International Bridge and located between McAllen, Texas (pop. 140,000- 2010) and Reynosa, Mexico (pop. 1,200,000-2010) with daily vehicle crossings at our International bridge of about 50,000 today gives credence to the vision 23 years ago, when part of the agenda at the retreat included creating a unique event to attract tourism, showcase Hidalgo’s historic buildings, local talent and to provide a one of a kind memorable experience during the holiday season. Over the years the Hidalgo’s Festival of Lights has grown into a spectacular holiday festival with more than 3 million lights and over 500 custom designed displays and an attendance of more than 600,000.

The 23rd annual Hidalgo Festival of Lights theme was “Fiestas Navideñas”. The program for the Festival of Lights is unique in that it is an event to attract tourism, showcase Hidalgo’s historic town site and buildings, local talent, local non-profit organizations, community unity, and provides a one of a kind memorable experience during the holiday season.

For more details, Click Here.

Silver • Grand Pinnacle • Budget: Under $250,000 Sentosa Leisure Management Pte., Ltd. • Sentosa Spooktacular 2013 • Sentosa, Singapore Sentosa Spooktacular is a signature Halloween event held annually every October on Sentosa island. Since its conceptualisation in 2009, Sentosa Spooktacular has cemented its unique positioning as Asia’s Scariest Fun, featuring only Asian ghosts and ghouls. Organised by Sentosa Leisure Management, this event has steadily grew from 3,000 visitors in 2009 to 15,000 visitors in 2013. Asia’s Scariest Fun is a concoction of horror and humour embedded in the rich history of Sentosa’s early beginnings as a prison camp during the World War II Japanese Occupation, the scare elements of Asia ghosts and tortured spirits, and the humour element that is signature of Asian horror movies and stories passed down from generation to generation.

For more details, Click Here.

Bronze • Grand Pinnacle • Budget: Under $250,000 Sentosa Leisure Management Pte., Ltd. • Siloso Beach Party 2013/2014 • Sentosa, Singapore Bid farewell to 2013 and welcome 2014 with 12 hours of non-stop action at Five distinct party zones, a giant foam pool, sandy dance floor and uncountable splashes of colours at the Party! Jets of colours and a kaleidoscopic line-up of music await party-goers this year. Chill out to lo-fi and beach house tunes and let sensual urban mixes tingle your senses as the sun sets along the horizon. Siloso Beach Party is the only year-end countdown event set against the allure of the sea front; it’s a great place to be this New Year’s Eve. For more details, Click Here.

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Gold • Grand Pinnacle • Budget: $250,000 to $750,000 Cultural Festivals • Saint Louis Art Fair • Saint Louis, MO U.S.A. The Saint Louis Art Fair (SLAF), produced by Cultural Festivals, is a free, three day celebration of the visual and performing arts held on September 6, 7, and 8, 2013 in Clayton’s central business district. The main focus is an easy-access juried exhibition of gallery quality fine art and craft with exhibiting artists. The art fair presents live performances, hands on activities for children, a street painter, and showcases some of St. Louis’ top restaurants. The art fair collaborates with more than 20 local nonprofit arts organizations, giving them the opportunity to generate earned income and access to more than 130,000 potential patrons. For more details, Click Here.

Silver • Grand Pinnacle • Budget: $250,000 to $750,000 BorderFest Association • BorderFest 2014 "Celebrating Argentina" Proudly Presented by Kraft • Hidalgo, TX U.S.A. BorderFest began in 1976 when a committee from the Hidalgo Chamber of Commerce set out to celebrate the American Bicentennial by commemorating the local border culture, the international setting, and the unique community spirit. The first attempt drew 500 people; 38 years later there are 68,184 in attendance. Now celebrated each year on the first full weekend in March, BorderFest is a four‐day‐plus extravaganza staged by the non‐profit BorderFest Association, with more than 122 committee chairmen and co-chairmen, and over 1,000 enthusiastic volunteers.

BorderFest is the largest and oldest music, culture and heritage celebration in South Texas, attended by enthusiastic people of all ages, ethnicities, and tastes from Texas, many of the United States, Canada and Mexico. Over the years BorderFest has transformed into a totally global event that celebrates a different country or culture each year. Entertainment and exhibits from these countries provide greater experiences and educational opportunities as the borders are expanded and BorderFest raises its bar of excellence.

For more details, Click Here.

Bronze • Grand Pinnacle • Budget: $250,000 to $750,000 Edmonton Heritage Festival Association • Servus Heritage Festival • Edmonton, AB Canada In the heat of the summer in one of the most northerly cities in the world, over 380,000 people make their way to Hawrelak Park –a 168 acre park on the banks of the North Saskatchewan River – that features a beautiful 12 acre lake, open grassy areas and walking trails. These people come to the park on the August long weekend not just for the sunshine and the beautiful scenery, but also for the 3 day Servus Heritage Festival – an annual tradition since 1974 which celebrates the many cultures of Canada.

60 pavilions representing over 85 countries from all over the world are setup throughout the park. These pavilions are created and staffed by volunteers from individual nonprofit cultural organizations who plan their involvement at least a year in advance. Each pavilion features culinary ethnic food, creative performances, crafts, artwork, and clothing, and the opportunity to chat with people eager to share their stories about their cultural roots and their present-day communities in Canada.

The Servus Heritage Festival is a celebration of Canada’s multicultural spirit in an atmosphere of tolerance. In spite of events that may be taking place on the international stage, local cultural associations are able to look beyond their sometimes centuries-old disagreements. For three days in the idyllic setting of Edmonton’s River Valley they peacefully co-exist and share with visitors, and with each other, traditions that make their people unique.

For more details, Click Here.

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Gold • Grand Pinnacle • Budget: $750,000 to $1.5 Million Des Moines Arts Festival • Des Moines, IA U.S.A. The Des Moines Arts Festival®, Iowa’s only free, three-day celebration of the arts, celebrated its 17th-annual Festival June 27-29, 2014 with an exciting line-up of visual art, live entertainment, film, community outreach, interactive activities, eclectic foods, craft beer, and fine wines in Downtown Des Moines’ Western Gateway Park, attracting more than 175,000 guests. At the heart of the Festival is the juried art fair featuring 195 professional selected from a pool of 1,125 applicants. The Festival has truly put Des Moines, Iowa, on the map, drawing more than three million guests to the three-day event during the past 17 years. The Festival has something for everyone to enjoy and it’s all free to attend.

For more details, Click Here.

Silver • Grand Pinnacle • Budget: $750,000 to $1.5 Million Main Plaza Conservancy • San Antonio|The Saga • San Antonio, TX U.S.A. North America’s Oldest Cathedral Sanctuary Welcomes Monumental Video Art Installation, “San Antonio|The Saga”. On June 13, 2014, Main Plaza Conservancy debuted “San Antonio|The Saga,” a captivating video art installation on the magnificent façade of San Fernando Cathedral. Created by renowned French Artist, Xavier de Richemont, this 7,000-sq.-ft. projection with custom choreographed music in stereo sound narrates the historical discovery, settlement and development of San Antonio. Now the seventh-largest city in the nation, San Antonio is a pivotal location in the story and identity of the United States and North America.

For more details, Click Here.

Bronze • Grand Pinnacle • Budget: $750,000 to $1.5 Million Canada Place Corporation/Port Metro Vancouver • Canada Day at Canada Place Vancouver, BC Canada With more than three million local and international visitors each year, Port Metro Vancouver and Canada Place Corporation are committed to celebrating Canada and showcasing the facility of Canada Place as a symbol of national pride. Located in the heart of Vancouver’s downtown waterfront, the iconic facility of Canada Place generates over $1 billion per year in economic activity, and is the inspiring national landmark welcoming local residents and visitors, and cruise ships to the West Coast. For the past 26 years, Canada Place hosted and continues to host a number of marquee annual community events including Canada Day at Canada Place and Christmas at Canada Place. Port Metro Vancouver, an integrated parent company, is Canada’s largest and most diverse port, contributing $9.7 billion in GDP, $6.1 billion in wages and generating 98,800 jobs across Canada.

Canada Day at Canada Place is Vancouver’s marquee event and the largest Canada Day celebration outside the nation’s capital, Ottawa.

With more than 13 hours of free family fun, we connect the community together in daytime festivities, parade and fireworks display.

For more details, Click Here.

To view the complete list of 2014 IFEA/Haas & Wilkerson Pinnacle Award Winners, Click Here.

MARK YOUR CALENDARS FOR THE 2015 IFEA/HAAS & WILKERSON PINNACLE AWARDS ENTRY DEADLINES

Earlybird Deadline: June 15, 2015 Final Deadline: July 20, 2015

Gold • Grand Pinnacle • Budget: Over $1.5 Million Pennsylvania Horticultural Society • 2014 PHS Philadelphia Flower Show • Philadelphia, PA U.S.A. The Philadelphia Flower Show is the oldest horticultural event in the United States. The first show was held in 1829, with a dozen members of the 2-year-old Pennsylvania Horticultural Society exhibiting their prize plants, flowers, fruits and vegetables in a Masonic Hall in Philadelphia. Among the displays was an exotic plant from Mexico, the poinsettia, which was introduced to the American public at this event. Subsequent shows unveiled discoveries from every corner of the world: peonies from China, chrysanthemums from Japan, the rubber tree from India, and sugar cane from the West Indies. The show grew in size and participation in the decades to follow, and moved to increasingly larger venues to accommodate the exhibition. In the 1960s, guests viewed the show in the Philadelphia Civic Center and attended the new fundraising black-tie Preview Dinner (later dubbed the Preview Party), which built a solid foundation for the show’s future. As its popularity increased through the mid-1990s, the Flower Show moved into a 10-acre exhibition hall in the new Pennsylvania Convention Center, where It now attracts an average of 250,000 visitors from around the world each year. In the 21st century, the Flower Show features 50 elaborate garden displays created by the finest designers, educational exhibits built by high school and university students and plant societies, and the $1 million structure called the “Horticourt” where PHS members and other gardeners show off their finest plants – just as the first organizers did in 1829.

For more details, Click Here.

Silver • Grand Pinnacle • Budget: Over $1.5 Million Kentucky Derby Festival • The Stories You Tell Happen Here • Louisville, KY U.S.A. Since its first event stepped off in 1956, the Kentucky Derby Festival has grown to become a world-class civic celebration showcasing the best-known events in Louisville. The Festival has taken the “Greatest two minutes in sports” and turned it into more than a two-week, community-wide celebration. The Festival has served Louisville for 59 years and produces Kentucky’s largest single annual event as well as the largest single-day road race. Between the 70+ events listed on its official schedule each year, attendance averages 1.5 million for the run of the Kentucky Derby Festival.

For more details, Click Here.

Bronze • Grand Pinnacle • Budget: Over $1.5 Million Downtown Fort Worth Initiatives, Inc. • MAIN ST. Fort Worth Arts Festival • Fort Worth, TX U.S.A. The MAIN ST. Fort Worth Arts Festival (MAIN ST.), Fort Worth’s most honored event, celebrated its 29th year on April 10 - 13, 2014. Presented by Coors Distributing Co. of Fort Worth (now Andrews Distributing), and produced

by Downtown Fort Worth Initiatives, Inc., MAIN ST. hosts tens of thousands of people during the four-day visual arts, entertainment and cultural event.

Showcasing a nationally recognized fine art and fine craft juried art fair, live concerts, performance artists and street performers on the streets of downtown Fort Worth, the Arts Festival stretches nine blocks on Main Street from the Tarrant County Courthouse to the Fort Worth Convention Center. The MAIN ST. Fort Worth Arts Festival has evolved into the biggest and best-attended event of its kind in the Southwest.

For more details, Click Here.

Proud to insure excellence in the festivals & events industry

2014 The IFEA and Zambelli Fireworks are pleased to announce Mary Bernaski from Borderfest and Festival of Lights in Hidalgo, TX as the recipient of the 2014 IFEA/Zambelli Fireworks Volunteer of the Year Award.

As this year’s winner, Mary was the guest of the IFEA and Zambelli Fireworks at the IFEA’s 59th Annual Convention & Expo, September 29 – October 1, 2014 in Kansas City, MO. She was recognized and presented with her award during the IFEA Awards Luncheon on Monday, September 29, 2014.

Please help us congratulate our 2014 IFEA/Zambelli Fireworks Volunteer of the Year Award Winner, Mary Bernaski.

Mary Bernaski Nominated by BorderFest Association and Festival of Lights Hidalgo, TX Mary Bernaski, a “Winter Texan” and “Volunteer Extraordinaire” came to Hidalgo in 1986 to square dance for the kick-off of BorderFest and receive her International Pin. She did not know then that she would soon find herself knee deep in volunteering for BorderFest, Hidalgo’s Festival of Lights, community Schools, the Chamber of Commerce and anything else that needed a hard working volunteer, including serving as a narrator and volunteer for Festival of lights for 20 years and serving on the official BorderFest Committee for 25 years, first as co-chair and then chair of the International Square Dance Jubilee.

Mary certainly is not ready to slow down, regardless of the fact she is 93 years young.

When Mary and her husband first came to Hidalgo they were here for 3 to 4 months. But as she became more involved she stayed 4 to 5 months and then 6 months and before long she 100

was staying 8 months out of the year.

And even though Mary is considered a semi-permanent resident, she has a genuine passion for the community, leading the charge in getting thousands of Winter Texans involved in BorderFest and Festival of Lights as well as leading the “Hot Peppers,” a top-notch volunteer club of Winter Texans. Not only this, but she also helped to add a new dimension to Festival of Lights when the Santa House was built by serving as Mrs. Claus each December.

Mary was a floral designer before she and her husband retired and came to Hidalgo from New York. She is creative and can do absolutely anything she puts her mind to, from helping to design, repair and build parade floats to sewing hundreds of “Hot Pepper” vests each year. With each year of BordeFest, a new country is celebrated.

Mary designs and makes new costumes every year for mascots Pepper and Cha Cha Rita including Cha Cha Rita’s wedding dress a few years ago! She even makes her own Mrs. Claus dresses! Mary has saved BorderFest thousands of dollars every year.

Her work with the Hot Peppers and the International Square Dance Jubilee

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has required Mary to travel across the Rio Grande Valley from Brownsville to Rio Grande City and all cities in between to organize and promote the Jubilee, drawing more than 2,000 square dancers.

The Jubilee continued to grow steadily until 2009, when the concern of border violence across the river in Mexico threatened to keep the square dancers from dancing in Mexico. Mary did everything she could to keep that from happening.

No is not a word in her vocabulary when it comes to Hidalgo festivals. Her enthusiasm, interest and personal satisfaction in helping is one of her many attributes.

Mary met with tourism authorities in Mexico and the BorderFest Committee, making it her mission to reach out to more than 200 RV Parks and Square Dance groups across the Rio Grande Valley to assure them that the International Square Dance Jubilee would continue.

The first year of the troubled time, the dance took place in the middle of the International Bridge and it was much smaller. Immediately afterwards Mary set out to make sure it got back on track working with all the Square Dance Callers

2014 Volunteer of the Year Semi-Finalists

and dancers across the Rio Grande Valley and Mexico, it has now moved back to the City Hall Plaza in Reynosa, Mexico and more than 500 dancers are back enjoying the international activity following the ABRAZO (Friendship Embrace with Mexico) in the middle of the International Bridge on opening day of BorderFest.

Mary knows BorderFest from the inside out. She never misses a committee meeting.

She is the one we call on to personally take care of VIP guests at BorderFest because of her leadership and dedication. She takes the time to make sure they have the opportunity to see and learn everything they can about the event right down to getting them a ride in the Weinermobile or on a float with her during the parades every year.

Kellogg’s’ Tony the Tiger has always said it right. “Volunteers are Greaaaat”!

Mary’s positive attitude is exactly that…

Greaaaat. And the Energizer Bunny never stops. We call Mary our Energizer Bunny.

She is the cheerleader for both festivals, the City of Hidalgo and State Farm Arena.

Volunteers look up to her and strive to emulate her. She is a take charge person and always gets the job done. She is the first one to arrive every day and usually the last one to leave making sure that absolutly everyone had a great time and will be back the next day or for the next event.

Mary Bernaski is a natural with a heart of gold and a passion for helping and that is hard to replace. It would mean finding a new seamstress, creative designer, Square Dance Jubilee organizer, volunteer recruiter, a spokesperson for BorderFest and Festival of Lights, a State Farm Arena BorderFest Hot Pepper Greeter for 100 plus events, a trained leader, teacher, narrator, Mrs. Claus and “Volunteer Extraordinaire”.

A task we never want to have to do.

LuAnn Chapman Gatts

Laura Sanchez

Nominated by: Grapevine CVB, Grapevine, TX

Nominated by: Downtown Fort Worth Initiatives, Inc. Fort Worth, TX

Devin Hansen Nominated by: Wichita Festivals, Wichita, KS

George Troutman Nominated by: Kentucky Derby Festival Louisville, KY

Marinus Rouw Nominated by: Skagit Valley Tulip Festival, Mount Vernon, WA

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The importance of volunteers to our industry cannot be overestimated.

Whether the individual acts as a volunteer administrator of an event or contributes his or her time and resources in support of a larger, multi-event organization with a paid staff, the efforts that are put forth deserve our heartiest congratulations and recognition.

It is for that reason that the IFEA Volunteer of the Year Award was created.

Nominations are currently being accepted for the 2015 IFEA Volunteer of the Year Award. The award recognizes those outstanding event volunteers whose unselfish and dedicated service to a member festival or event has made a significant difference in their community and mirrors the commitment to success in our professional ranks.

A panel of impartial judges from within the IFEA organization will select the Volunteer of the Year winner from all of the candidates submitted.

That individual will be honored at the 60th Annual IFEA Convention & Expo location and date TBD. As the guest of the IFEA the winner will receive an all expense* paid trip to the convention to accept their award. All participants in the program will be promoted through local and national media releases, available on request. The finalist will be featured in a future issue of “ie� magazine, and each semi-finalist will receive a certificate of recognition.

Volunteer nominations submitted for the 2014 Award may be carried over into the 2015 competition with the permission of the nominator. The nominator will have the option to re-write the nomination if desired.

Please direct all nomination materials and questions to Nia Hovde, Director of Marketing & Communications at nia@ifea.com or +1-208-433-0950 ext. 3.

* Includes hotel and airfare only.

To view a complete list of past winners and their nominations, go to the Industry Honors section on www.ifea.com

2015 CALL FOR NOMINATIONS Please submit the following information for your nomination.

A. INDIVIDUAL SUBMITTING NOMINATION INFORMATION: Name • Organization • Address • City • State • Zip • Phone • Fax • Email B. NOMINATION INFORMATION: Name • Address • City • State • Zip • Phone • Fax • Email C. NOMINATION QUESTIONS: Please provide a 2 paragraph response for each of the questions below, indicating which question you are answering. Please include specific examples for each. Points will be awarded for each question. Points awarded are listed below.

1. Explain your volunteer’s significant depth of involvement. (20 points) 2. Show specific examples of your volunteers roles and responsibilities. (10 points) 3. Describe how your volunteer has provided significant enthusiasm, organizational assistance and specific expertise. (10 points) 4. Explain how your volunteer has shown initiative and leadership in his or her efforts.

(20 points) 5. Tell how your volunteer has exemplified his or her dependability. (10 points)

NOMINATION CRITERIA To be eligible for consideration for the IFEA Volunteer of the Year Award, the nominee shall:

• Be a current volunteer of an IFEA member organization • Have provided significant enthusiasm, organizational assistance and specific expertise • Be a volunteer of the nominating festival or event for at least 3 years

6. Describe your volunteer’s positive attitude. (10 points) 7. Describe how your volunteer has made a difference to the festival or event. What impact has your volunteer had on your festival/event? What void would there be without him or her as a volunteer? (20 points) D. ADDITIONAL INFORMATION: If your nominee is selected, we will need the following information for marketing the 2015 Volunteer of the Year. Please submit the following with your nomination. (Not required at time of nomination).

1. A photograph of the volunteer you are nominating.

2. A local media list (up to 15 contacts) in order for IFEA to send Press Releases to your media.

• The preferred media list submission is in an Excel format.

• Please include: Name; Organization; Address; City; State; Zip; Phone; Fax; Email E. ENTRY FORMAT: • Please email your nomination in a Word document.

F. SUBMIT ENTRIES TO: Nia Hovde, Director of Marketing & Communications at nia@ifea.com G. QUESTIONS: Please contact Nia Hovde, nia@ifea.com, +1-208-433-0950 ext. 3

Nominations should be submitted no later than Monday 5:00 PM (MST) June 15th, 2015 * Pixels Per Inch ** Pixels Per Centimeter

• Have shown initiative and leadership in his or her efforts • Have a positive attitude • Have exemplified his or her dependability • Have a significant depth of involvement • Have made a difference to the festival or event • Have received no remuneration for services directly associated with his or her volunteer duties

FOUNDATION

Re - Charge, Re - Connect, Re - Invent Thank you to Kansas City, Missouri for hosting the 59th Annual IFEA Convention. It was a fun week to enjoy the “City of Fountains” with lots of exciting sporting events taking place. You couldn’t help cheering for the home teams!

As I bring closure to my year as IFEA Foundation Board Chair, I will especially remember this beautiful city. The Foundation Party and Auction—a salute to the “Wizards of Aah’s” —was held at the amazing Crown Center Square.

The venue enabled the IFEA Staff and Foundation Board the opportunity to transform this unique space and invite convention attendees, vendors and local guests to “follow the yellow brick road”. Everyone enjoyed a “Taste of Kansas City” BBQ followed by the featured live auction hosted by our own “Wizard of Oz,” Bruce Erley, CFEE, APR. Thank you to Bruce for serving as our host for the evening! I would also like to recognize Bette Monteith on the IFEA Staff and Sue Bunday, former Board President at the Portland Rose Festival. Our board greatly appreciates the time and energy Bette devotes to assisting with all the IFEA Foundation Auction administration, in addition to her many other IFEA staff duties. Addi-

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tionally, Sue has been a faithful auction volunteer since 2012 providing “creative” and logistics expertise that is invaluable.

Thank you also to all IFEA Foundation Board members for soliciting and securing numerous auction items as well as your assistance before, during and after the auction. It truly was a team effort which allowed for proceeds of $34,000! Of course these proceeds could not have been received without the generous bidding done by all. Thank you for your generous contributions!

These funds will enable IFEA to provide financial support to fulfill its educational goals. Part of these goals include providing scholarships to the IFEA Annual Convention.

2014 brought us two additions to our list of Legacy Scholarships—the Carolyn and Lee Crayton Legacy Scholarship and the Jean McFaddin Legacy Scholarship. Thank you Carolyn, Lee and Jean! This year 15 scholarships were awarded to rising industry professionals. The Foundation Board enjoyed getting to know these energetic individuals and we want to thank each one of them for assisting with the live and silent auction. Your involvement was key to the success of the evening!

Last, an update on our “Fund for the Future”. Beginning in 2010 with an original goal of $500,000, the Fund for the Future continues to provide assistance to IFEA through the joint efforts of the Foundation and World Boards. I am happy to report both boards can boast 100% participation from all members regarding Fund for the Future contributions in 2014. Thank you Board Members! As we approach the half-way point of our goal, we will continue to seek contributions to this fund to establish an Emergency Reserve Fund to safeguard against economic uncertainty. The Fund for the Future will also provide computer and Information Technology upgrades for the IFEA office in order to keep up with the expectations and needs of those in our industry.

In closing I would like to welcome the 2015 IFEA Foundation Board Chair, Mary Ann Dilling, CFEE with the EAA in Oshkosh, WI. Our board is excited for your future leadership!

Pam Sartory 2014 IFEA Foundation Board Chair Business Manager SunFest of Palm Beach County, Inc. West Palm Beach, Florida Email: psartory@sunfest.com

LEGACY SCHOLARSHIPS Supporting and Educating the Festivals & Events Industry Since 1993.

Each of the following IFEA Foundation Legacy Scholarships serve a selected audience(s) within our industry, as identified, by providing an annual scholarship to the IFEA Annual Convention & Expo (registration only). We invite you to look through the opportunities, take a moment to learn a little more about the special individuals and groups attached to each, and apply for those that you may qualify for. For more information, go to: www.ifea.com.

The Nick Corda Memorial Scholarship Providing support to young/new professionals currently completing their education or with less than three years in the industry.

The Carolyn and Lee Crayton Legacy Scholarship Providing support to a deserving individual/organization from a smaller market, with grand visions for helping their community through events, but not yet a budget to match those visions.

The Judy Flanagan Scholarship Providing support to a deserving individual/ organization whose event involves a parade.

The Georgia Festivals & Events Association Scholarship Providing support to a deserving individual/organization from Georgia.

The Bill & Gretchen Lofthouse Memorial Scholarship Providing support to a deserving individual/organization currently struggling with short-term economic or start-up challenges.

The Mampre Media International Scholarship Providing support to a deserving individual working with media/marketing responsibilities for an event.

The Jean McFaddin Legacy Scholarship Providing support to a deserving individual/organization who has had at least 2 years active involvement, either as staff or volunteer, in producing a multi-dimensional event and whose career/lives have been inspired or touched by the Macy*s Thanksgiving Day Parade.

The Daniel A. Mangeot Memorial Scholarship Providing support to a deserving individual/organization seeking advanced education and professional certification. This scholarship provides core curriculum registration fees toward the attainment of the IFEA’s Certified Festival & Event Executive (CFEE) designation.

The Mid-Atlantic Festival & Event Professionals Scholarship Providing support to a deserving individual/organization within the Mid-Atlantic United States.

The Richard Nicholls Memorial Scholarship Providing support to a deserving High School senior or College Student with a history of commitment to participating or volunteering in non-profit events / organizations; someone who is well-rounded in extra-curricular activities in and outside of campus life and who has a passion for helping others and/or supporting a cause that enhances the quality of life for individuals or the community at large.

The Bruce & Kathy Skinner Scholarship Providing support to young/new professionals currently completing their education or with less than three years in the industry.

The John Stewart Memorial Scholarship Providing support to a deserving individual working with technology responsibilities supporting an event(s).

The Tennessee Festival & Event Professionals Scholarship Providing support to a deserving individual/organization from Tennessee.

The Pete Van de Putte Scholarship Providing support to a deserving individual/organization from Texas.

The Joe & Gloria Vera Scholarship Providing support to a deserving individual/organization from Texas.

The Don E. Whitely Memorial Scholarship Providing support to a deserving individual/organization whose event involves a parade.

The Kay Wolf Scholarship Providing support to a deserving individual/organization from Texas.

The George Zambelli, Sr. Memorial Scholarship Providing support to a deserving volunteer who has given their time and energies to their community festival/event.

For more information about how you can sponsor an IFEA Foundation Legacy Scholarship, call +1-208-433-0950 or email Schmader@ifea.com.

For more details about each Legacy Scholarship, go to www.ifea.com

THE BOARD

Reflections on the Past and Opportunities for the Future With the holiday season upon us and the year quickly coming to an end, I like to spend time reflecting on the activities and accomplishments of the past year, while contemplating new opportunities in the year ahead. As the 2014 Chairman of the Board of Directors for the International Festival and Events Association I would to share my thoughts with you on our unique industry.

2014 was a great year for festivals and events globally, and for the International Festival and Events Association.

We continue to see signs of growth and change within the industry in all parts of the world - an increased number of young professionals joining the ranks of festival and event producers - bringing their enthusuasm, energy, new ideas and knowledge base to our profession. The rapidly expanding number of festivals here in the U.S. and abroad, combined with the strengthing global economy bodes very well for the future growth of the festival industry, but only for those who continue to develop their skills and expertise via professional development and knowledge sharing.

As our industry continues to evolve and refine itself demonstrating a heightened level of professionalism in all areas of festival and event development, operations, marketing and management, the importance on continuing education

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and staying on top of emerging trends will be the key to future success for us all. The International Festival and Events Association is your resource for this success.

Our hard-working International Festival and Events Association staff, under the leadership of our dedicated president, Steve Schmader, CFEE, continue to provide programs, webinars, event management training, information, resources and ideas from all corners of the world. Valuable resources through the International Festival Association, offers us all opportunities to ensure the growth and success of our respective events as well as contribute to professional growth on a personal level. I would encourage everyone to take advantage of the many opportunities our association offers.

We had a spectacular convention in Kansas City, our 59th annual gathering of festival and event industry professionals from all areas of the U.S. and across the world. The Board of Directors and I hope you found the 2014 convention to have been as inspiring, entertaining and informative as we did, and that you were able to establish new relationships with other industry professionals who can serve as your personal resource in the coming year and for years ahead. Just this week, I personally found myself sharing information and gaining insights from three different industry professionals whom I met through the International Festival and Events Association.

As the year draws to a close, so does my term as Chairman of the International Festival and Events Association. With the New Year, the association gains a vibrant new Chairwoman in Cindy Lerick. A consummate industry leader who directs the highly successful Saint Louis Arts Fair, Cindy Lerick brings over 30 years of knowledge and expertise to our association, and the promise of continued growth for the organization.

In 2015 the International Festival and Events Association enters its sixth decade of service to the industry and the opportunity for future growth and development has never been greater.

On behalf of the Board of Directors I wish you a happy holiday season and great success in the coming New Year!

James L. Holt, CFEE Chairman of the Board 2014 International Festival and Events President & CEO Memphis in May International Festival

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In summary, it is a fundamental responsibility of the board to oversee the financial management of the organization. Not all organizations do this well. In fact, if one monitors the literature on nonprofits, there are examples in the media almost every week of organizations that fail because the board did not do its job of monitoring the finances. This article provides a four-point program that boards can use to help them do a better a better job of protecting their organization and ensuring its sustainability for the future. I hope you find it helpful.

Mitch Dorger brings more than 40 years of work experience including 20 years as a chief executive officer (most recently with the Pasadena Tournament of Roses) to his Consulting Practice. His experience as a CEO was consistently characterized by successful performance improvement programs and high employee morale and achievement. He believes the fundamental goal of leadership is to inspire teamwork and the spirit of continuous improvement. He has recent expertise in the world of non-profit organizations and is well versed in corporate governance, volunteer management, financial planning and management, government relations, and large event management. As a public speaker he has lectured on non-profit organizational management, strategic planning, change management and leadership.

He has also served as a keynote speaker for four different festival and event association conventions.

Mitch Dorger, Principal Dorger Executive Consulting Pasadena, California mitch@dorger.com.

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waiver. A signed waiver is the only way to truly ensure you have 100% permission to use someone’s image or likeness. In the case of children under the age of 18, a parent or guardian is required to sign the waiver So just remember: In order to avoid someone wagging a finger in your face and telling you off, be sure to take the appropriate and necessary steps to ensure your Festival has the legal standing to say, “Oh no you didn’t!”

Jeff English is the Sr. Vice President of Administration/ General Counsel of the Kentucky Derby Festival. After graduating from Washburn University School of Law (Topeka, KS) in 2004, Jeff worked in politics and practiced law before joining the KDF staff. He is charged with overseeing all of Festival’s legal issues and serving as its risk management officer. He also manages the Merchandise Department and the 501(c)3 not-for-profit Kentucky Derby Festival Foundation.

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Contact: Pete Van de Putte Jr., CFEE, President; Address: 1930 N. Pan Am Expressway, San Antonio, TX 78208; Phone: (800) 356-4085; Fax: 210-227-5920; Email: sales@dixieflag.com; Website: www.dixieflag.com.

ENTERTAINMENT QUIXOTIC - Quixotic is a cornucopia of mystical majesty that enraptures audiences who have never even dreamed a night at the theater could be this much fun. Contact: Mica Thomas; Address: 2820 Cherry Street, Longfellow, Kansas City MO 64108; Phone: 866-891-0071; Email: mst155@yahoo.com; Website: www.quixoticfusion.com EVENT PLANNING VISTA PRODUCTIONS INC. - We are a premiere meeting & event planning, audio-visual & production staging company working with Fortune 500 companies across North America and Internationally. Contact: Angie Warnock; Address: P.O. Box 301, Harrisonville, MO 64701; Phone: 816-380-7750; Email: awarnock@vistaprod.com; Website: www.vistaprod.com FINANCIAL VISA / FESTIVALS.COM - Festival Transaction Services, a Festival Media Corporation company, brings true cashless transactions to festivals, fairs and community events through strategic partnerships with Visa and Bank of America Merchant Services (BAMS). Contact: Jim Shanklin; Address: 2033 Sixth Avenue-Ste 810, Seattle WA 98121; Phone: 206-381-5200; Email: jshanklin@festmedia.com INSURANCE HAAS & WILKERSON INSURANCE – Over 50 years experience in the entertainment industry, providing insurance programs designed to meet the specific needs of your event. Clients throughout the US include festivals, parades, carnivals and more. Contact: Carol Porter, CPCU, Broker; Address: 4300 Shawnee Mission Parkway, Fairway, KS 66205; Phone: 800-821-7703; Fax: 913-676-9293; Email: carol.porter@hwins.com; Website: www.hwins.com.

KALIFF INSURANCE - Founded in 1917, Kaliff Insurance provides specialty insurance for festivals, fairs, parades, rodeos, carnivals and more. We insure the serious side of fun! Contact: Bruce Smiley-Kaliff; Address: 1250 NE Loop 410 Ste 920, San Antonio TX 78209; Phone: 210-829-7634 Fax: 210-829-7636; Email: bas@kaliff.com; Website: www.kaliff.com 108

IFEA’s ie: the business of international events

Winter 2014

INSURANCE K & K INSURANCE – For 60 years, K & K insurance has been recognized as the leading provider of SPORTS-LEISURE & ENTERTAINMENT insurance products.

Contact: Mark Herberger; Address: 1712 Magnavox Way, Fort Wayne, IN 46804; Call: 1-866-554-4636; Email: mark.herberger@kandkinsurance.com Website: KandKinsurance.com.

INTERNET POINTSMAP® - PointsMap® has proven to be an effective and useful software for Festivals and Events. Create custom points at their exact location on your PointsMap with photos, descriptions, website links, multi-media, PDF’s and even “inside maps”. Your visitors can “PLAN” before the festival using their desktop computer, and then “NAVIGATE” the festival using their Smartphone. Visit www.

PointsMap.com/SLAF and http://www.PointsMap.com/WichitaRiverFest/ to see how PointsMap is being used. It’s easy to use and extremely affordable.

Contact: Jerry Waddell Address: 1100 Riverfront Pkwy, Chattanooga, TN 374022171; Phone: 423-894-2677; Email: jerryw@videoideas.com; Website: www.pointsmap.com QUICKEDGE™ (EDGEWORKS GROUP LLC) - Since 1994 our mission has been to drive more business through your website. We plan, design, build, and market successful websites by integrating customized online strategies including search engine optimization, affiliate marketing, email marketing, and more. If this kind of experience and approach is what you’re looking for, we’d love to hear from you.

Address: 26361 Crown Valley Parkway, Suite 203, Mission Viejo CA 92691; Phone: 866-888-7313 x701; Email: info@edgeworksgroup.com; Website: www.edgeworksgroup.com.

SAFFIRE EVENTS - Saffire is award-winning software providing events & venues with beautifully designed, online event destinations, including integrated content management, mobile, social, ecommerce, email and more. Contact: Kendra Wright, Address: 248 Addie Roy Rd, Ste B-106, Austin TX 78746-4133; Phone: 512-430-1123; Email: info@saffireevents.com; Website: www.saffireevents.com.

PINS Custom Pin & Design - Supplying festivals & events with lapel pins and other novelty items since 1980. Highest Quality-Lowest Prices! Many well-known clients.

Contact: John Stevenson; Address: 245 Ivanhoe Street, Denver CO 80220; Phone: 877-307-7467; Email: custompin@aol.com; Website: www.custompin.com