Festival and Special Event Management, 5th Edition , Allen, O_Toole, Harris, McDonnell Test Bank

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Festival and Special Event Management, 5th Edition By William O'Toole, Johnny Allen, Robert Harris

Email: richard@qwconsultancy.com

Testbank to accompany Festival and Special Event Management 5e by Allen et al

Chapter 1: An Overview of the Event Field MULTIPLE CHOICE 1.

The event tradition in Australia has been forged by:

a. b. c. d.

Governments Business Community groups and individuals All of the above

ANS: D. All of the above FEEDBACK: Very easy.

REFER TO SECTION: Introduction 2.

The tradition of events in Australia

a. b. c. d.

Derives directly from Aboriginal Australian culture Is a continuation of the human need to celebrate and mark important occasions Is a celebration of our connection to the natural environment, such as seasons and moon phases All of the above

ANS: B. is a continuation of the human need to celebrate and mark important occasions FEEDBACK: Easy.

REFER TO SECTION: Special Events as Benchmarks for our Lives 3.

The Modern Australian Tradition of Celebration can be traced back to:

a. b. c. d.

The Aboriginal Australian culture of celebration and ritual The protest of Australia's invasion in 1788 The first fleet and the arrival of the first female convicts in 1788 The first public holiday declared on the 26th of January, 1818

ANS: C. The first fleet and the arrival of the first female convicts FEEDBACK: Moderate. The Aboriginal cultural tradition existed before the Modern Australian tradition and continues to this day. It can therefore be seen as distinct from the Modern Australian Tradition.

REFER TO SECTION: The Modern Australian Tradition of Celebrations 4.

At the beginning of the 20th Century, Australians had come to terms with the Australian landscape. This lead to the rise in popularity of:

a. b. c. d.

Anniversary Day Balls, shows and travelling entertainment Picnics Rum-soaked debauchery

ANS: C. Picnics FEEDBACK: Easy. © John Wiley & Sons Australia, Ltd 2010 2

Chapter 1: An overview of the event field

REFER TO SECTION: The Modern Australian Tradition of Celebrations 5.

An Australian home-grown tradition of celebration, typified by Sydney's Waratah Festival, Melbourne's Moomba Festival or Ballarat's Begonia Festival emerged:

a. b. c. d.

After Federation After the Depression After World War II After 1970

ANS: C. After World War II FEEDBACK: Moderate.

REFER TO SECTION: The Modern Australian Tradition of Celebrations 6.

City and town festivals such as Young's Cherry Festival, Bowral's Tulip Time and Newcastle's Mattara Festival:

a. b. c. d.

Were the vanguard of an Australian home-grown tradition of celebration Were and continue to be a badge of civic pride Were and continue to be a focus for community groups and charity fund-raising All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Modern Australian Tradition of Celebrations 7.

In 1947, the Edinburgh Festival, founded as part of the post-war spirit of reconstruction and renewal, provided the world with a powerful new model of community festival. An example of a festival in Australia that was inspired by this model is:

a. b. c. d.

Toowoomba's Carnival of Flowers The Adelaide Festival of the Arts Sydney's Gay and Lesbian Mardi Gras Melbourne's Moomba Festival

ANS: B. The Adelaide Festival of the Arts FEEDBACK: Moderate.

REFER TO SECTION: The Modern Australian Tradition of Celebrations 8.

Festivals like the Aquarius Festival or the Lygon Street Festa emerged following the Australia Council's push to:

a. b. c. d.

Free the Arts from suburban shackles Empower the artist to see beyond their own cultural context Re-integrate artistic practice into community life Celebrate Australia's colonial history

ANS: C. Re-integrate artistic practice into community life FEEDBACK: Difficult.

REFER TO SECTION: The Modern Australian Tradition of Celebrations

© John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management 5e by Allen et al

9.

The emergence of multiculturalism and cultural pluralism in Australia in the 1970s:

a. b.

Focused artistic life on the vibrant inner-cities Consolidated power in the hands of experienced and professional artists, curators and organisers.

Encouraged new voices, particularly migrants, workers and Aboriginal people to engage in the artistic culture of Australia All of the above

c. d.

ANS: C. Encouraged new voices, particularly migrants, workers and Aboriginal people to engage in the artistic culture of Australia FEEDBACK: Difficult.

REFER TO SECTION: The Modern Australian Tradition of Celebrations 10. The 1984 Los Angeles Olympics were significant for the events industry because: a. b. c. d.

It demonstrated that major events could be economically viable It heralded an era of events that were more show than substance It demonstrated how popular sporting events could be corrupted by the Television Industry It paved the way for the Americanisation of cultural life

ANS: A. It demonstrated that major events could be economically viable FEEDBACK: Moderate.

REFER TO SECTION: The Birth of an Event Industry 11. The boom in special events in the 1980s was: a. b. c. d.

Supported by the Public Sector, through the newly established State Event Corporations Regulated by the Public Sector, through the newly established Event Regulations Act Discouraged by the Public Sector, through the Department of Cultural Preservation All of the above.

ANS: A. Supported by the Public Sector, through the newly established State Event Corporations FEEDBACK: Moderate.

REFER TO SECTION: The Birth of an Event Industry 12. In the 1990s, the corporate world became draw to events a. b. c. d.

Through State and Federal policies of grants and tax incentives As they saw that major events would not be possible without corporate backing As they realised that superior events could be produced in-house.

As they recognised of the marketing and image-making power of events.

ANS: D. As they recognised of the marketing and image-making power of events.

FEEDBACK: Moderate.

REFER TO SECTION: The Birth of an Event Industry

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Chapter 1: An overview of the event field

13. From an events perspective, an enduring legacy of the Australian Bicentenary Celebrations is: a. b. c. d.

The on-going Government support for events The number of public spaces dedicated to celebrations and special events The public appetite for high-quality special events All of the above.

ANS: D. All of the above.

FEEDBACK: Easy.

REFER TO SECTION: The Birth of an Event Industry 14. How has the event industry responded to the spectre of global warming? a. b. c. d.

By developing and participating in Emission Trading Schemes By focusing on events that require less travel time By focusing on creating high-profile feel-good events By adopting initiatives to reduce the environmental impact of events

ANS: D. By adopting initiatives to reduce the environmental impact of events FEEDBACK: Easy.

REFER TO SECTION: The Birth of an Event Industry 15. The Global Financial Crisis: a. b. c. d.

Directed events away from the United States Prompted event managers to become solely profit-focused Forced event managers to find ways to deliver more with less Prompted the rise of off-shore, tax-free event venues

ANS: c. Forced event managers to find ways to deliver more with less FEEDBACK: Easy.

REFER TO SECTION: The Birth of an Event Industry 16. The growth of events that has been witnessed in Australia since World War II: a. b. c. d.

Is not evident in the rest of the world Is a global phenomenon, though Australia is a world leader Is a global phenomenon, though Australia lags many major countries Has been relatively slow, on a global scale

ANS: B. Is a global phenomenon, though Australia is a world leader FEEDBACK: Moderate.

REFER TO SECTION: The Birth of an Event Industry

© John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management 5e by Allen et al

17. From an event organiser's perspective, a Special Event is an event that: a. b. c. d.

Attracts the most publicity Occurs outside of the normal program or activities of the organizing body Requires the most resources to run Is the most popular with stake-holders

ANS: B. Occurs outside of the normal program or activities of the organizing body FEEDBACK: Difficult.

REFER TO SECTION: What are Special Events 18. From a customer or guest's point of view, a Special Event is an event that: a. b. c. d.

Costs more money than normal day-to-day activities Is the most popular event in the calendar Provides an experience beyond the everyday All of the above

ANS: C. Provides an experience beyond the everyday FEEDBACK: Difficult.

REFER TO SECTION: What are Special Events 19. Which of the following could be classified as a 'Mega-Event'? a. b. c. d.

The FIFA World Cup The World University Games The World Star-Trek Convention A CWA cake sale

ANS: a. The FIFA World Cup FEEDBACK: Easy.

REFER TO SECTION: Types of Event 20. Which of the following could be classified as a 'Hallmark Event'? a. b. c. d.

The FIFA World Cup The Sydney Olympics Munich Oktoberfest The Melbourne Grand Prix

ANS: c. Munich Oktoberfest FEEDBACK: Easy.

REFER TO SECTION: Types of Event

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Chapter 1: An overview of the event field

21. Which of the following could be classified as a 'Major Event'? a. b. c. d.

The FIFA World Cup The Birdsville Races The Melbourne Australian Open The Carnival in Rio de Janeiro

ANS: c. The Melbourne Australian Open FEEDBACK: Easy.

REFER TO SECTION: Types of Event

22. Which of the following could be classified as a 'Community Event'? a. b. c. d.

The FIFA World Cup The Birdsville Races The Melbourne Australian Open The Carnival in Rio de Janeiro

ANS: B. The Birdsville Races FEEDBACK: Easy.

REFER TO SECTION: Types of Event 23. When classifying events by form or content, which of the following is not a category? a. b. c. d.

Festivals Sports Events Charity Fundraisers Business events

ANS: C. Charity Fundraisers FEEDBACK: Difficult.

REFER TO SECTION: Types of Event 24. The most popular form of arts festivals are: a. b. c. d.

Writers' Festivals Music Festivals Visual Arts Festivals Sporting events

ANS: B. Music Festivals FEEDBACK: Easy.

REFER TO SECTION: Types of Event

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

25. According to the Commonwealth Department of Tourism, a defining feature of meetings, as a component of Business Events, is that they bring people together for the purpose of: a. b. c. d.

Commercial transactions Collusion Sharing information Networking

ANS: c. Sharing information FEEDBACK: Difficult.

REFER TO SECTION: Types of Event 26. An example of an event organisation is: a. b. c. d.

Darling Harbour The Festival of Sydney Organising Body MJ's Catering Wilson Security

ANS: b. The Festival of Sydney Organising Body FEEDBACK: Moderate.

REFER TO SECTION: The Structure of the Event Industry 27. What do Event Management Companies do? a. b. c. d.

Operate under the direct control of larger corporations Organise events on a contract basis Specialise in areas associated with events, like security, staging etc.

Focus all their attention on one event at a time

ANS: B. Organise events on a contract basis FEEDBACK: Moderate.

REFER TO SECTION: The Structure of the Event Industry 28. A community organisation is planning a festival in a local park. They will erect a stage and serve food. The application of regulations governing temporary structures and food is the responsibility of: a. b. c. d.

Local Council The Festival and Event Association (FEA) Meetings and Events Australia (MEA) The Exhibition and Event Association of Australia (EEAA)

ANS: A. Local Council FEEDBACK: Difficult.

REFER TO SECTION: The Structure of the Event Industry

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Chapter 1: An overview of the event field

29. Industry Associations in the events industry: a. b. c. d.

Provide networking and liaison within the industry, including lobbying Provide training and accreditation Provide codes of practice All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Structure of the Event Industry 30. Those seeking a career in events may wish to consider volunteering for an event team because: a. b. c. d.

Employers often look for a mix of qualifications and experience It is a good way to gain experience and a foothold in the industry A successful career depends on applicants identifying their own skills and interests, and then matching these carefully with the needs of prospective employers All of the above

ANS: d All of the above FEEDBACK: Easy.

REFER TO SECTION: Career Opportunities in Events

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

SHORT ANSWER/ESSAY QUESTIONS 31. Describe the impact the 1984 Los Angeles Olympics had on the major events industry.

Through the 1980s and 1990s, certain seminal events set the pattern for the contemporary event industry as we know it today. The Olympic Games in Los Angeles in 1984 demonstrated that major events could be economically viable. The organisers managed to combine a Hollywood-style spectacle with a sporting event in a manner that had not been done before, and that would set a standard for all similar events in future. The production and marketing skills of the television industry brought the Olympics to an audience wider than ever before. Television also demonstrated the power of a major sporting event to bring increased profile and economic benefits to a city and to an entire country.

The successes demonstrated at the Los Angeles Olympics cemented government support for major events, and demonstrated the image-making power of events to corporations. This has allowed events to grow more and more in size and scope.

FEEDBACK: Moderate.

REFER TO SECTION: The Birth of an Event Industry

32. What affect did the 1988 Bicentenary have on public celebrations in Australia?

The 1988 Bicentenary placed the concept of a public event firmly in the consciousness of the Australian public. As McCarthy (1998) puts it: “I would argue that the remarkable legacy of 1988 is the public event. It is now a regular feature of Australian life. We gather for fireworks, for welcome-home marches for athletes and other Australians who have achieved success. We go to large urban spaces like the Domain for opera, rock and symphonic music in our hundreds of thousands. The Sydney Festival attracts record numbers. The Gay Mardi Gras is an international phenomenon... Whatever the nature of debate about values, identity and imagery, one certainty is that Australians are in love with high-quality public events that are fun and offer to extend the range and experience of being Australian.”

The Bicentenary also left a legacy of public spaces dedicated to celebrations and special events, such as Darling Harbour, and of governments supporting events for their perceived social and economic benefits.

REFER TO SECTION: The Birth of an Event Industry

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Chapter 1: An overview of the event field

33. What are 'Special Events'? How does considering the perspective of the event organiser or the event guest give us a clearer definition of a 'Special Event'?

The term ‘special events’ has been coined to describe specific rituals, presentations, performances or celebrations that are consciously planned and created to mark special occasions or achieve particular social, cultural or corporate goals and objectives.

Special events can include national days and celebrations, important civic occasions, unique cultural performances, major sporting fixtures, corporate functions, trade promotions and product launches.

It seems at times that special events are everywhere; they have become a growth industry. The field of special events is now so vast that is impossible to provide a definition that includes all varieties and shades of events.

In his groundbreaking work on the typology of events, Getz (2005, p. 16) suggests special events are best defined by their context. He offers two definitions, one from point of view of the event organiser and the other from that of the customer or guest: 1.

2.

A special event is a one-time, or infrequently occurring event outside the normal program or activities of the sponsoring or organizing body.

To the customer or guest, a special event is an opportunity for an experience outside the normal range of choices or beyond everyday experience.

3.

The key common element is that the experience on offer is a non-routine, out-of-the-ordinary one.

REFER TO SECTION: What are Special Events

34. What attributes does Getz (2005) believe create the special atmosphere at Special Events?

Use examples from events that you have been to.

Getz believes that the attributes that create the special atmosphere at Special Events are festive spirit, uniqueness, quality, authenticity, tradition, hospitality, theme and symbolism.

Students should use their personal experiences to reflect on what is meant by each of these attributes. Given that the attributes describe a subjective personal experience, there should be no definitively right or wrong answers.

REFER TO SECTION: What are Special Events

35. What defines a 'Hallmark' Event? Provide an Australian and an International example.

The term ‘hallmark events’ refers to those events that become so identified with the spirit or ethos of a town, city or region that they become synonymous with the name of the place, and gain widespread recognition and awareness. Tourism researcher Ritchie (1984, p. 2) defines them as: “Major one-time or recurring events of limited duration, developed primarily to enhance awareness, appeal and profitability of a tourism destination in the short term and/or long term. Such events rely for their success on uniqueness, status, or timely significance to create interest and attract attention.”

Classic international examples of hallmark events are the Carnival in Rio de Janeiro, the Kentucky © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management 5e by Allen et al

Derby in the USA, the Chelsea Flower Show in Britain, and the Oktoberfest in Munich, Germany.

Examples in Australia might include the Sydney Gay and Lesbian Mardi Gras, the Australasian Country Music Festival at Tamworth, the Melbourne Cup and the Adelaide Festival, all of which have a degree of international recognition and help to identify the ethos of their host cities.

REFER TO SECTION: Types of Event

36. What defines a 'local' or 'community' event? How do these kinds of events benefit the community?

Most communities produce a host of festivals and events that are targeted mainly at local audiences and staged primarily for their social, fun and entertainment value. This is what the term 'local' or 'community' events refer to. Such events can be found in almost every city and town in Australia.

Some examples include the Birdsville Races in outback Queensland, the Henley-On-Todd Dry River Boat Regatta in Alice Springs, and the Nymagee Outback Music Festival in central New South Wales.

These events often produce a range of benefits, including engendering pride in the community, strengthening a feeling of belonging and creating a sense of place. They can also help to expose people to new ideas and experiences, encourage participation in sports and arts activities, and encourage tolerance and diversity.

REFER TO SECTION: Types of Events

37. What kinds of festivals are there? What are some Australian examples?

The most common type of festival is the arts festival, which can encompass mixed art forms and multiple venues — such as the capital city arts festivals — or single art forms such as the Queensland Music Festival, the Sydney Biennale or the Melbourne Writers Festival. The most popular form of arts festival is the music festival. Music festivals can range from classical music festivals such as the International Music Festival in Canberra, to jazz festivals such as the Melbourne International Jazz Festival, to folk and blues festivals such as the East Coast Blues and Roots Music Festival at Byron Bay and the Woodford Folk Festival in Queensland, to rock festivals such as the Big Day Out and Homebake.

Another popular type of festival is the food and wine festival. These range from large festivals in the capital cities to local festivals showcasing regional cuisine. Other festivals such as the Tropfest short film festival and the Big Day Out have become multi-state festivals, while festivals such as Floriade in Canberra and the Sydney Gay and Lesbian Mardi Gras approach hallmark status in their respective cities. Regional festivals, too, are a growing phenomenon, with many large and small towns expressing their unique character and distinctiveness through well-honed festivals and community celebrations. Some examples of the tremendous variety and array of regional festivals include the Mount Isa Rodeo in Queensland, the Wangaratta Jazz Festival in Victoria and the Parkes Elvis Festival in New South Wales.

REFER TO SECTION: Types of Event

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Chapter 1: An overview of the event field

38. Describe the structure of the events industry and the key players and organisations.

The events industry is composed of event organisations, event management companies, event industry suppliers, venues and industry associations. Event organisations, such as the 2006 Melbourne Commonwealth Games Corporation, are organisations solely committed to the organisation of one particular event. Event management companies are professional groups or individuals that organise events on a contract basis on behalf of their clients. Event industry suppliers are firms that provide specialist support services, such as security, staging, catering etc.

Venues are the the locations where event takes place, which follow an agenda separate to those of the individual events that they host. Finally, industry associations are professional networks devoted to information sharing, training and accreditation programs, codes of conduct and lobbying.

REFER TO SECTION: The Structure of the Event Industry

39. What knowledge areas or 'skill domains' are important to event managers? List examples of specialised areas within these domains.

Within the events industry, it is generally agreed that 5 'skill domains' are important. These are Administration such as financial management and HR management; Design, which refers to things like Programming or theme design; Marketing, which includes promotion and public relations; Operations, including logistics and site management; and Risk, including insurance, security and health and safety.

REFER TO SECTION: Event Management, Education and Training, in particular Figure 1.4

40. Where could someone wanting to enter the Event Management industry be trained in the necessary skills?

Someone wanting to be trained in Events Management could receive formal training either through one of the industry associations that have developed and deliver training and certification programs, or through a university or other tertiary institution that offers event management programs or courses. Alternatively, it is possible to volunteer with a particular event or to take an entry level position, and receive on-the-job training, in a practical environment..

REFER TO SECTION: Event Management, Education and Training, and Career Opportunities in Events

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Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management 5e by Allen et al

Chapter 2: Perspectives on Events MULTIPLE CHOICE 1.

Which level of government normally has the prime carriage of events with national significance, such as the Bicentenary?

a. b. c. d.

Councils State Government Federal Government All of the above

ANS: C. Federal Government FEEDBACK: Easy.

REFER TO SECTION: The Government Perspective 2.

In terms of events, the Federal Government is concerned with:

a. b. c. d.

National celebrations like the Centenary of Federation Political and economic events like APEC Events promoting trade, investment and tourism All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Government Perspective 3.

Which level of government normally has the prime carriage of major arts festivals, such as the Sydney Festival?

a. b. c. d.

Local Government, with the support of the other levels State Governments The Federal Government All of the above

ANS: B. State Governments FEEDBACK: Easy.

REFER TO SECTION: The Government Perspective

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Chapter 2: Perspectives on events

4.

Which level of government normally has the prime carriage of regional tourism events, such as the Bellingen Global Carnival?

a. b. c. d.

Local Government, with the support of the other levels State Governments The Federal Government All of the above

ANS: A. Local Government, with the support of the other levels FEEDBACK: Easy.

REFER TO SECTION: The Government Perspective 5.

Government involvement in events is characterised by:

a. b. c. d.

Co-operation between Local and State Governments Co-operation between State and Federal Governments Competition between State Governments for major events All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Government Perspective 6.

Which of the following is not a role governments play in events?

a. b. c. d.

Venue owner / manager Booking agent Consent authority and regulatory body Funding body

ANS: B. Booking agent FEEDBACK: Moderate.

REFER TO SECTION: The Government Perspective 7.

Which of the following is not a role governments play in events?

a. b. c. d.

Funding body Event organiser Event / destination marketer Event security

ANS: D. Event security FEEDBACK: Moderate.

REFER TO SECTION: The Government Perspective

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

8.

In the area of events, when the Government plays the role of a consent authority, they:

a. b. c. d.

Administer the laws and policies that govern the staging of events Engage in community consultation to get community buy-in Manage stakeholder needs and expectations Satisfy community demands for services such as sanitation and waste

ANS: A. Administer the laws and policies that govern the staging of events FEEDBACK: Moderate.

REFER TO SECTION: The Government Perspective 9.

In the area of events, when the Government plays the role of a service provider, they:

a. b. c. d.

Organise and manage the event themselves Develop and sponsor the idea of the event, but outsource its management.

Provide services central to the event, such as waste removal and traffic management Manage the Internet and Communications Technology systems that support the event

ANS: c. Provide services central to the event, such as waste removal and traffic management FEEDBACK: Moderate.

REFER TO SECTION: The Government Perspective 10. The event strategies developed by governments: a. b. c. d.

Co-ordinate their over-all involvement in events Plan the use of resources related to events Measure the outcomes of event related programs and services All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Government Perspective 11. Governments create celebration spaces and precincts: a. b. c. d.

To rejuvenate derelict urban areas Forge links between entertainment and commerce Create congenial spaces for people to congregate and enjoy All of the above.

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Government Perspective

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Chapter 2: Perspectives on events

12. The 2002 Commonwealth Games in Manchester contributed to the rejuvenation of Manchester by: a. b. c. d.

Providing the city with the revenues needed to begin redevelopment Providing a catalyst and a commitment to regeneration and development Shaming the National Government into finally taking action Providing an opportunity for the city to meet with the future investors and backers of redevelopment projects

ANS: B. Providing a catalyst and a commitment to regeneration and development FEEDBACK: Difficult.

REFER TO SECTION: The Government Perspective 13. The 2012 London Olympics have been labelled by some as the 'Regeneration Games'.

However critics argue that: a. b. c. d.

The need for redevelopment in London does not justify the likely expenditure It is not the role of the Olympic Games, or even in its ability to instigate the kind of social and geographic changes being talked about Ultimately, major sporting events rarely have positive impacts on their host cities All of the above.

ANS: B. It is not the Olympics role or even in its ability to instigate the kind of social and geographic changes being talked about FEEDBACK: Difficult.

REFER TO SECTION: The Government Perspective 14. The corporate sector recognises the power of events to: a. b. c. d.

Improve company morale Improve business procedures Improve profitability and income All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Corporate Perspective 15. Corporate or Business events: a. b. c. d.

Are any events designed to boost sales or market position Are any events aimed at developing the organisation's business functions Are any events that support an organisation's aims, as a business Are any events organised and delivered by events professionals

ANS: C. Are any events that support an organisation's aims, as a business FEEDBACK: Difficult. Option c. umbrellas both option a. and option b.

REFER TO SECTION: The Corporate Perspective

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

16. Corporate or Business events: a. b. c. d.

Are focused on developing the company, through training, networking etc.

Are focused on consumers, through building brand awareness, influencing choices etc.

Can be both externally and internally focused All of the above

ANS: d. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Corporate Perspective 17. Which of the following is an example of an internal event, from a corporate perspective: a. b. c. d.

A trade mission to Malaysia An AGM A sponsored golf tournament A press conference regarding an Initial Public Offering

ANS: B. An AGM FEEDBACK: Moderate.

REFER TO SECTION: The Corporate Perspective 18. Which of the following is an example of an internal event, from a corporate perspective: a. b. c. d.

A day-long accounting software training session The opening of a new franchise Routine server maintenance A trade show

ANS: A. A day-long accounting software training session FEEDBACK: Moderate.

REFER TO SECTION: The Corporate Perspective 19. Which of the following is an example of an external event, from a corporate perspective: a. b. c. d.

A dealer network seminar A corporate retreat End-of-the-month staff drinks The gala opening of a flagship store

ANS: D. The gala opening of a flagship store FEEDBACK: Moderate.

REFER TO SECTION: The Corporate Perspective

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Chapter 2: Perspectives on events

20. Which of the following is an example of an external event, from a corporate perspective: a. b. c. d.

A corporate retreat Christmas drinks for clients A dinner to welcome the new CEO A team-building session

ANS: B. Christmas drinks for clients FEEDBACK: Moderate.

REFER TO SECTION: The Corporate Perspective 21. In the events field, the Return on Investment (ROI) is a measure of: a. b. c. d.

The benefits associated with running an event The benefits associated with running an event, relative to the event's costs The real-dollar benefits associated with an event, relative to the benefits that cannot be quantified The costs associated with an event, relative to the benefits of the event

ANS: B. The benefits associated with running an event, relative to the event's costs FEEDBACK: Difficult.

REFER TO SECTION: The Corporate Perspective 22. If a company estimates that the benefits of a product launch will be $250 000 and that the the costs associated with the launch will come to $200 000, then the expected ROI can be calculated as: a. b. c. d.

10% 25% 33% 50%

ANS: B. 25% FEEDBACK: Difficult.

REFER TO SECTION: The Corporate Perspective 23. A dinner for prospective investors cost $10,000 but the event manager has estimated that the ROI is likely to be 20%. This implies that the benefits associated with the event will sum to: a. b. c. d.

$8,000 $10,000 $12,000 $15,000

ANS: C. $12,000 FEEDBACK: Difficult.

REFER TO SECTION: The Corporate Perspective

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

24. A market research session generated $50,000 in benefits and had a reported ROI of 25%.

This implies that the costs associated with the event summed to: a. b. c. d.

$25,000 $40,000 $60,000 $100,000

ANS: B. $40,000 FEEDBACK: Difficult.

REFER TO SECTION: The Corporate Perspective 25. In terms of events design and management, the community where the event takes place is above all: a. b. c. d.

The primary market for the event A potential source of volunteers A major stakeholder whose views need to be incorporated The group ultimately responsible for the event

ANS: C. A major stakeholder whose views need to be incorporated FEEDBACK: Moderate.

REFER TO SECTION: The Community Perspective 26. Local governments and other government agencies support country town and regional festivals because these festivals: a. b. c. d.

Help create social capital and community well-being Help local clubs and societies fundraise and recruit new members Help to create a sense of community and belonging All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Community Perspective 27. Strategies for Community Engagement: a. b. c. d.

Involve the community in the planning, implementation and evaluation of the event Ensure that the event represents the true values of the community Resolve potential disruptions or community conflicts surrounding the event All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Community Perspective

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Chapter 2: Perspectives on events

28. In terms of Community Engagement, which of the following is not an outreach mechanism? a. b. c. d.

Broadening the local community by expanding the footprint of the event into nearby areas Sending event management on a study tour of different festivals Involving schools through inclusion in the curriculum or specially designed lesson plans, tied to the event Shop-fronts that provide an ongoing connection between the event and its community

ANS: B. Sending event management on a study tour of a different festival FEEDBACK: Difficult.

REFER TO SECTION: The Community Perspective 29. In terms of Community Engagement, which of the following is not an example of community input and feedback facilitation? a. b. c. d.

Urban renewal strategies Public Meetings Open calls for membership of an event organising committee Inclusion of a feedback or contact facility on the event website

ANS: A. Urban renewal strategies FEEDBACK: Difficult.

REFER TO SECTION: The Community Perspective 30. In terms of Community Engagement, which of the following is not an example of community development and capacity building? a. b. c. d.

Channelling some of the profits from an event into a community organisation Work-experience programs for young people Providing volunteer social events to build community networks Free or discounted travel to the event

ANS: D. Free or discounted travel to the event FEEDBACK: Difficult.

REFER TO SECTION: The Community Perspective

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

SHORT ANSWER/ESSAY 31. What role do governments play in events?

Governments commonly perform a wide and complex variety of roles in events, particularly in the arena of public outdoor events and festivals. As well as being event organisers themselves, developing their own event or program of events, governments might be venue owners or managers, being responsible for the development and maintenance of the places where events take place. Governments can also be the consent authority or regulatory body that sets and administers the laws and policies that govern events. Governments are also often service providers, providing essential support services like waste removal and traffic management. Governments might be the funding body responsible for providing financial support to the event. Finally, governments may be event or destination marketers, taking on some responsibility for the promotion of an event and a host location.

REFER TO SECTION: The Government Perspective

32. What is an events strategy? Why do governments develop them?

Increasingly governments are developing event strategies in order to coordinate their overall involvement in events, to plan the use of resources and to improve and measure the outcomes of programs and services. Such strategies ideally dovetail with other policies and strategies in the areas of urban planning, community and cultural services, economic development and tourism. They also establish strong links with agencies at other levels of government, and the private sector.

Event strategies seek to delineate government objectives in the events area, and to identify the appropriate policies, infrastructure, resources, staffing and programs needed to achieve them. They often include the development of a portfolio or annual program of events designed to reflect the particular characteristics and needs of a city or region. Such a portfolio may include a broad range of events, including signature or flagship events that are intended to promote the destination, and other events designed to serve particular cultural, sporting, economic or tourism goals and objectives. Event portfolios may involve both existing events, and the sourcing of new events by bidding for suitable event properties or by developing events from the ground up. Event strategies provide a framework for the appraisal of proposed new events in order to determine their fit with strategic objectives.

REFER TO SECTION: The Government Perspective

33. How did hosting the America's Cup in 196-87 promote urban regeneration and renewal in Australia?

After a West Australian syndicate led by Perth entrepreneur Alan Bond snatched victory in the America's cup in 1986, tradition decreed that the next event would be held in the syndicate's home city of Fremantle.

Fremantle, an old port city, which had suffered a long economic downturn due to the slow decline of the shipping industry, had been the subject of various government regeneration and improvement proposals. The momentum of hosting the America’s Cup was used to fast-track these proposals, and to attract finance and the will to transform the city. Motivated by the promise of a tourism bonanza © John Wiley & Sons Australia, Ltd 2010 10

Chapter 2: Perspectives on events

and the stimulus that ‘the eyes of the world will be on Fremantle’, an enthusiastic wave of refurbishment and new building transformed the sleepy working class port into a popular tourism destination.

While some of the visitor predictions ultimately proved an exaggeration, the city of Fremantle emerged with a greatly improved image and higher self-esteem, though arguably at the expense of its original working class character and values (Hall and Selwood 1995).

REFER TO SECTION: The Government Perspective

34. Within the corporate perspective on events, what is meant by an internal event? List some examples.

Internal events are events aimed at developing a business' own practices or staff. In the modern corporate environment, major internal company events such as Annual General Meetings (AGMs), corporate retreats and board meetings are often treated as significant occasions deserving of dedicated organisation and meticulous attention to detail. Other internal events such as staff social events, team building, incentives and award nights are seen as valuable tools to inspire and motivate staff, and as contributing to the development of a successful corporate culture. Sales conferences and product seminars are used to extend this culture further to company representatives and dealer networks. Many companies contribute considerable resources towards ensuring that such events are perceived as part of their corporate identity and style, and that they are conducted with high standards of professionalism and presentation.

REFER TO SECTION: The Corporate Perspective

35. Within the corporate perspective on events, what is meant by an external event? List some examples.

External events are events focused on a business' customers and clients. They are highly valued for their ability to communicate corporate and sales messages, and to cut through the clutter of advertising and media to reach customers and clients directly and effectively. Grand openings, product launches, sales promotions, media conferences, publicity events and photo opportunities are just some of the wide variety of events that are used to gain the attention of potential customers, and to create a ‘buzz’ around new products and services. Companies also use exhibitions, trade missions and trade shows to reach distribution networks, and to maintain a company presence in selected markets.

Another growing corporate use of events is the entertaining of clients in order to build and nourish business relationships with them. This can take the form of hosted cocktail parties, dinners or receptions, or hospitality at company sponsored public events. Often the sponsorship of events can bring many of these aspects together, enabling companies to reach event attendees and demonstrate product attributes through associating their product REFER TO SECTION: The Corporate Perspective

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

36. What types of things might be included when calculating the full ROI of an event?

The ROI is the Return on Investment. ROIs are calculated differently depending on the needs and the priorities of the organisations involved. At its simplest level, it is a comparison of the monetary benefits gained from the meeting with the costs. However, if there are the means to accurately measure and account for them, there are some key elements that are useful to include in a full numerical calculation of return on investment. These include: • Reaction and planned action — measures attendee satisfaction, usually by the use of generic questionnaires. While important, attendee satisfaction does not in itself guarantee the acquisition of new skills, knowledge or professional contacts.

• Learning — uses tests, skill practices, group evaluations and other assessment tools to ensure that attendees have absorbed the meeting material and know how to use it properly. However, it does not guarantee that what has been learnt will be used on the job.

• Job applications — used to determine whether attendees applied what they learnt from the meeting on the job. While a good gauge of the meeting’s success, it still does not guarantee a positive business impact for the organisation.

• Business results — focuses on the results achieved by attendees as they successfully apply what they learnt from the meeting. Typical measures include output, sales, quality, costs, time, and customer satisfaction. However, this still does not provide a measure of the financial value of the meeting or event.

REFER TO SECTION: The Corporate Perspective

37. Why do communities host events like town festivals? What are the benefits?

Festivals can form part of the social fabric that binds our communities together. This can be seen in many country town and regional festivals, where the main social event of the year is often the town festival. The myriad social interactions that go into creating the festival — the committee meetings, the approaches to local businesses for support, the involvement of local arts and sports groups, the contacting of service groups and volunteers — all help to create social capital and community wellbeing. In many cases, these festivals provide an annual opportunity for local clubs and societies to fund-raise and recruit new members, which is crucial to their survival. Communities, of course, are not always heterogeneous, and festivals can provide the stimulation for healthy disagreement and debate about their priorities and identity. In many very real ways, therefore, these festivals help to create and strengthen a sense of community and belonging. For this and related reasons, they are often supported by local governments and other government agencies concerned with maintaining and supporting healthy communities.

REFER TO SECTION: The Community Perspective

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Chapter 2: Perspectives on events

38. Why do people participate in events?

As individuals, people's requirements and expectations of community events are often very simple and direct. They want to participate and be entertained — to have a social and enriching experience beyond their everyday reality. They may want to participate as a family, so that they can enjoy the experience together and so that children are provided a special treat at an affordable cost. They may want to showcase their creative talents in the case of arts or cultural festivals, or to enjoy friendly competition in the case of sporting events. In some cases they may want the satisfaction and achievement of being involved as organisers, or the social contact and recognition of being involved as volunteers. They may have some awareness of the larger role of the event in their community, but are likely to be more interested in the social and cultural benefits than the business and economic outcomes of the event.

REFER TO SECTION: The Community Perspective

39. What are the core-values for public engagement and participation, according to the International Association for Public Participation?

Harris and Allen (2006), posited core values for public engagement and participation based on those of the International Association for Public Participation (IAP2): 1.

2.

3.

4.

5.

6.

7.

The public should be consulted and should have a say in decisions about actions that affect their lives.

Public participation undertakes that the public’s contribution will influence the decisionmaking process.

The public participation process communicates the interests and meets the process needs of all participants.

The public participation process identifies those potentially affected and facilitates their input.

The public participation process involves participants in defining how they participate.

The public participation process provides participants with the information they need to participate in a meaningful way.

The public participation process provides feedback to participants on how their input affected the decision (International Association for Public Participation 2010).

These values are useful when analysing strategies for community engagement.

REFER TO SECTION: The Community Perspective

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

40. What mechanisms might an event use to engage with the community? Use examples.

Harris and Allen (2006), in a study for artsACT, examined 22 medium to large-scale public events in Australia and overseas in order to identify strategies employed by event managers to facilitate community engagement. In practice, the study found that the extent and type of community engagement varied widely in the events that they studied, with some events much more proactive than others in seeking to involve and engage the community. Mechanisms for community engagement in the events examined by the study included: • Participation facilitation – including free or discounted transport provision, radio broadcasts for community members who are housebound and a discounted or free program.

• Community input and feedback facilitation – including public meetings, community based ‘whole of event’ strategic reviews and festival workshops designed to seek input with regard to event design and programming.

• Inclusive programming – including targeting of specific community groups to deliver, or assist with aspects of the event program, and designing program elements with the needs of specific groups in mind (for example, the participation of schools by incorporating an ‘education day’).

• Incentives – including the provision of free stall space to non-profit organisations and charities to raise funds, attract new members, or raise awareness of a particular issue or cause, and competitions and contests that serve to encourage involvement by particular community groups such as school children, local artists and sporting groups.

• Outreach – including directing profits from the event to community groups, involving schools through the curriculum or special lesson plans, and broadening the local community by expanding the footprint of the event into nearby areas.

• Community development and capacity building – including work experience programs, volunteering opportunities and financial support for community organisations.

• Friends of the event/event alumni associations – which involves the creation of ‘friends’ or ‘alumni’ groups to integrate an event further with its community.

• Local business engagement – including incentives to spend locally and giving preference to local businesses for the supply of services.

FEEDBACK: The examples given are not exhaustive and students may cite other examples or draw on their own.

REFER TO SECTION: The Community Perspective.

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Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management 5e by Allen et al

Chapter 3: Event Impact and Legacies MULTIPLE CHOICE 1.

The three elements of the triple bottom line are:

a. b. c. d.

Private, Social and Economic Social, Economic and Environmental Social, Environmental and Political Economic, Financial and Monetary

ANS: B. Social, Economic and Environmental FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 2.

Why is greater emphasis often placed on the financial impacts of events?

a. b. c.

Because they are the most important and most easily measured Because organisations often face strict budget constraints, and financials are often fungible Because organisations often face strict budget constraints, and because they are easily measured Because organisations often face strict budget constraints, and because of the Global Financial Crisis

d.

ANS: C. Because organisations often face strict budget constraints and because they are easily measured FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 3.

Whose responsibility is it to ensure that the negative impacts of an event are managed and the event has a positive impact overall?

a. b. c. d.

The event manager The whole community The Government The investors and financial backers

ANS: A. The event manager FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events

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Chapter 3: Event impact and legacies

4.

An example of a negative social and cultural impact associated with an event is:

a. b. c. d.

Substance abuse The event is used for propaganda Pollution Community alienation

ANS: A. Substance abuse FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 5.

An example of a positive social and cultural impact associated with an event is:

a. b. c. d.

International Prestige Tree plantings National pride Increased tax revenue

ANS: C. National pride FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 6.

An example of a negative political impact associated with an event is:

a. b. c. d.

Substance abuse A lack of accountability Waste related environmental damage Exploitation of volunteers

ANS: B. A lack of accountability FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 7.

An example of a positive political impact associated with an event is:

a. b. c. d.

International prestige Expansion of cultural perspectives Improved transport infrastructure Greater commercial activity

ANS: A. International prestige FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

8.

An example of a negative environmental impact associated with an event is:

a. b. c. d.

Violence The misallocation of funds Inflated prices Traffic congestion

ANS: D. Traffic congestion FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 9.

An example of a positive environmental impact associated with an event is:

a. b. c. d.

Job creation Urban renewal Expansion of cultural perspectives Social cohesion

ANS: B. Urban renewal FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 10. An example of a negative tourism / economic impact associated with an event is: a. b. c. d.

Loss of amenity Destruction of heritage Loss of a location's 'authentic' feel Propaganda

ANS: C. Loss of a location's 'authentic' feel FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 11. An example of a positive tourism / economic impact associated with an event is: a. b. c. d.

Job creation Increased community participation Social cohesion Urban renewal

ANS: A. Job creation FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events

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Chapter 3: Event impact and legacies

12. The increase in 'hooning' and road accidents around the time of the Adelaide Grand Prix could be described as: a. b. c. d.

A negative social and cultural impact A negative economic impact A negative environmental impact A negative political impact

ANS: A. A negative social and cultural impact FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 13. The increase in co-operative spirit between Japan and Korea when they co-hosted the Soccer World cup in 2002 could be described as: a. b. c. d.

A positive social and cultural impact A positive economic impact A positive environmental impact A positive political impact

ANS: D. A positive political impact FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 14. The opening of the Darling Harbour Precinct as a result of the Bicentenary celebrations could be described as: a. b. c. d.

A positive social and cultural impact A positive economic impact A positive environmental impact A positive political impact

ANS: C. A positive environmental impact FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 15. The 2847 full-time jobs created over the ten days of the World Masters games in Sydney in 2009 could be described as: a. b. c. d.

A positive social and cultural impact A positive economic impact A positive environmental impact A positive political impact

ANS: B. A positive economic impact FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events

© John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management 5e by Allen et al

16. The expression 'bread and circuses' comes from: a. b. c. d.

The Roman's belief in the importance of celebration in a full life The Roman's tendency to commit to celebrations, even in difficult times The Roman's use of events to deflect criticism and shore up popularity The Medicis strategic approach to public life

ANS: c. The Roman's use of events to deflect criticism and shore up popularity FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 17. The economic benefits of an event: a. b. c. d.

Accrue in the preparations for the event Accrue during the event Accrue after the event and into the future Accrue at all stages of the event and into the future

ANS: D. Accrue at all stages of the event and into the future FEEDBACK: Easy.

REFER TO SECTION: Balancing the Impact of Events 18. Events have a positive economic impact: a. b. c. d.

On all sectors of the economy On the providers of infrastructure but not necessarily the on the retail sector or on small business On the retail sector and small business, but not necessarily on the providers of infrastructure In theory, but these impacts are impossible to measure in any meaningful way

ANS: B. On the providers of infrastructure but not necessarily the on the retail sector or on small business FEEDBACK: Difficult.

REFER TO SECTION: Balancing the Impact of Events 19. The employment creation associated with an event: a. b. c. d.

Tends to be in permanent full-time work Is reflected in all sectors of the economy Generally tends to be under-estimated Maybe substantial but is generally short-lived

ANS: D. Maybe substantial but is generally short-lived FEEDBACK: Difficult.

REFER TO SECTION: Balancing the Impact of Events

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Chapter 3: Event impact and legacies

20. Australian studies of regional festivals show that: a. b. c. d.

Inputs are generally sourced locally Some inputs are sourced locally, but many are sourced from a broader geographic base Inputs are generally sourced from outside the local community All of the above

ANS: B. Some inputs are sourced locally, but many are sourced from a broader geographic base FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 21. According to Australian studies of regional festivals, which of the following is not likely to be primarily sourced locally: a. b. c. d.

Staff Catering Talent Staging

ANS: C. Talent FEEDBACK: Moderate.

REFER TO SECTION: Balancing the Impact of Events 22. In Australia, the Government's motivation for hosting events: a. b. c. d.

Has always been driven by the Economic benefits associated with the event Was traditionally tied to the economic benefits of the event, but has become more focused on the social, cultural or sporting benefits over time Was traditionally tied to the social, cultural or sporting benefits of the event, but has become more focused on the economic benefits over time Has always been driven by the social, cultural and sporting benefits

ANS: c. Was traditionally tied to the social, cultural or sporting benefits of the event, but has become more focused on the economic benefits over time FEEDBACK: Moderate.

REFER TO SECTION: Economic Impacts and the Role of Government 23. 'Spill over' effects describe the fact that: a. b. c. d.

During an event, the government continues to fund many sectors not directly related to the event There are often many negative (e.g. Environmental) consequences of an event that need to be recognised An event visitor's spending is always more than the admission price While events often run an operational loss, they produce many benefits for related industries

ANS: D. While events often run an operational loss, they produce many benefits for related industries FEEDBACK: Difficult.

REFER TO SECTION: Economic Impacts and the Role of Government © John Wiley & Sons Australia, Ltd 2010 7

Testbank to accompany Festival and Special Event Management 5e by Allen et al

24. In an events context, Economic Impact Studies measure: a. b. c. d.

The expenditure involved in staging an event The event's impact on the wider economy The expenditure involved in staging an event and any flow on effects The negative effects associated with the event, in dollar values

ANS: c. The expenditure involved in staging an event and any flow on effects FEEDBACK: Moderate.

REFER TO SECTION: Economic Impact Studies 25. In an Economic Impact Study, the economic impacts of an event are derived from: a. b. c. d.

Expenditure by visitors from outside the region Capital expenditure on facilities required to conduct the event Expenditure incurred by event organisers and sponsors All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Economic Impact Studies 26. Surveys of the host community's perceptions of an event: a. b. c. d.

Provide every member of the community with the opportunity to provide feedback Are a tool for identifying community concerns allow event managers to manage community expectations of the event All of the above

ANS: B. Are a tool for identifying community concerns FEEDBACK: Difficult.

REFER TO SECTION: Community Perceptions of Event Impacts 27. The Legacy of an event refers to: a. b. c. d.

The social and cultural benefits of an event The charitable contributions associated with an event The longer-term impacts of an event The international impacts of an event

ANS: C. The longer-term impacts of an event FEEDBACK: Easy.

REFER TO SECTION: Community Perceptions of Event Impacts

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Chapter 3: Event impact and legacies

28. Event Legacies: a. b. c. d.

Are easier to identify, quantify and manage over the longer term Should be actively and strategically managed Are only a concern of 2nd tier or mega-events Are consistently over-looked by governments

ANS: B. Should be actively and strategically managed FEEDBACK: Moderate.

REFER TO SECTION: Community Perceptions of Event Impacts 29. A survey of community attitudes towards the Australian Open Tennis Tournament in 2003 found that, at the personal level, the most positively perceived impact was in terms of: a. b. c. d.

Entertainment Economic effects Effect on facilities Civic pride

ANS: A. Entertainment FEEDBACK: Moderate.

REFER TO SECTION: Community Perceptions of Event Impacts 30. In terms of the economic impact of events 'leveraging' refers to: a. b. c. d.

Having plans in place to use the stimulus of an event to a business' advantage Having plans in place to use the stimulus of an event to increase government revenue Having systems in place that mitigate the negative impact of events Using a region's economic credentials to bid for and win major events

ANS: A. Having plans in place to use the stimulus of an event to a business' advantage FEEDBACK: Difficult.

REFER TO SECTION: Balancing the Impact of Events

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

SHORT ANSWER/ESSAY QUESTIONS 31. A local surf lifesaving club is planning a cake sale to raise money. Describe some possible positive and negative social and cultural impacts that might be associated with this event.

In terms of events, positive social and cultural impacts include: • Shared experience • Revitalisation of traditions • Building of community pride • Validation of community groups • Increased community participation • Introduction of new and challenging ideas • Expansion of cultural perspectives On the other hand, negative social and cultural impacts include: • Community alienation • Manipulation of community • Negative community • Bad behaviour • Substance abuse • Social dislocation • Loss of amenity (There is room to creatively explore how each of these impacts might be associated with this event.)

FEEDBACK: Students are not expected to provide an example for each and every example of a positive and negative impact. Three or four should do.

REFER TO SECTION: Balancing the Impact of Events 32. An organisation is planning an inner-city fun run. Describe some possible positive and negative environmental impacts that might be associated with this event.

In terms of events, positive environmental impacts include: • Showcasing of the environment • Provision of models for best practice • Increased environmental awareness • Infrastructure legacy • Improved transport and communications • Urban transformation and renewal On the other hand, negative environmental impacts include: • Environmental damage • Pollution • Destruction of heritage • Noise disturbance • Traffic congestion (There is room to creatively explore how each of these impacts might be associated with this event.)

FEEDBACK: Students are not expected to provide an example for each and every example of a positive and negative impact. Three or four should do. © John Wiley & Sons Australia, Ltd 2010 10

Chapter 6: Project Management for Events

REFER TO SECTION: Balancing the Impact of Events 33. The local council is organising an ANZAC day march and concert in the park. Describe some possible positive and negative political impacts that might be associated with this event.

In terms of events, positive political impacts include: • International prestige • Improved profile • Promotion of investment • Social cohesion • Development of administrative skills On the other hand, negative political impacts include: • Risk of event failure • Misallocation of funds • Lack of accountability • Propaganda • Loss of community ownership and control • Legitimation of ideology (There is room to creatively explore how each of these impacts might be associated with this event.)

FEEDBACK: Students are not expected to provide an example for each and every example of a positive and negative impact. Three or four should do.

REFER TO SECTION: Balancing the Impact of Events

34. It is time for the small town of Weemba's annual Fruit and Jam Festival again. Describe some possible positive and negative tourism and economic impacts that might be associated with this event.

In terms of events, positive tourism and economic impacts include: • Destinational promotion and increased tourist visits • Extended length of stay • Higher yield • Increased tax revenue • Business opportunities • Commercial activity • Job creation On the other hand, negative tourism and economic impacts include: • Community resistance to tourism • Loss of authenticity • Damage to reputation • Exploitation • Inflated prices • Opportunity costs • Financial mismanagement • Financial loss © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management 5e by Allen et al

(There is room to creatively explore how each of these impacts might be associated with this event.)

FEEDBACK: Students are not expected to provide an example for each and every example of a positive and negative impact. Three or four should do.

REFER TO SECTION: Balancing the Impact of Events

35. If an event is going to have a positive economic impact, what factors are likely to be important?

A UK Sport study of British events suggests that an event's ability to deliver positive economic impacts is linked to three factors.

1. The ability of the event to attract people from outside the host economy – i.e. to generate a large number of visitors, including delegates, officials and participants.

2. The duration of the event (longer events offer more opportunities to create positive impacts), combined with the ability of the host economy’s ability to serve the needs of an influx of visitors.

3. The desire and support of local partners to make the event a commercial success. This includes local business' ability to leverage off the event.

REFER TO SECTION: Economic Impact Studies

36. What is the 'Legacy' of an event? What kind of things might be considered a 'legacy'?

The 'legacy' of events refers to the longer-term impacts. It is generally used in a positive sense. It is particularly important when talking about events that might not turn a profit in the short-term.

Legacy is generally used in a public or government context, and might refer to improved infrastructure, transport and communication facilities, urban regeneration, and increased awareness of the host destination, resulting in greater business activity and tourism.

REFER TO SECTION: Community Perceptions of Event Impacts

37. What is meant by 'managing crowd behaviour'? Why is it important?

Major events can have unintended social consequences such as substance abuse, bad behaviour by crowds and an increase in criminal activity (Getz 2005). If not managed properly, these unintended consequences can hijack the agenda and determine the public perception of the event.

Managing crowd behaviour then refers to the strategies used to neutralize the risks associated with anti-social behaviour. These strategies can be direct, such as having a strong police presence, or indirect, such as scheduling the program of events to minimise public drunkenness, for example.

Events as diverse as the Australasian Country Music Festival at Tamworth in New South Wales, the Australian Motorcycle Grand Prix at Phillip Island in Victoria, the Woodford Folk Festival in Queensland and Schoolies Week on the Queensland Gold Coast have had to develop strategies to handle alcohol-related bad crowd behaviour to protect their reputation and future.

REFER TO SECTION: Balancing the Impact of Events

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Chapter 6: Project Management for Events

38. Why are politicians drawn to events?

Governments around the world have realised the ability of events to raise the profile of politicians and the cities and states that they govern. Events gain media coverage and notoriety, and at the same time they attract visitors and therefore create economic benefits and jobs. This potent mixture has prompted governments to become major players in bidding for, hosting and staging major events.

Governments in power continue to use hallmark events to punctuate the ends of their periods in office, to arouse nationalism, enthusiasm and finally, votes. They are cheaper than wars or the preparation for them.

REFER TO SECTION: Balancing the Impact of Events 39. What does 'Waste Management' refer to? Why is it important? What policies does the NSW Government have with respect to Waste Management?

Waste Management refers to the strategies employed to deal with the waste generated by an event, and to promote environmental outcomes such as recycling and composting.

Community expectations and the health of the environment require that events demonstrate good waste management principles and provide models for recycling. The waste-wise event manager will reap not only economic benefits, but also the approval of an increasingly environmentally aware public.

Further, events are targeted as opportunities to demonstrate best practice models in waste management and to change public attitudes and habits. The NSW Department of Environment and Climate Change promotes a fully integrated event waste management and recycling program, with detailed instructions on what to do before, during and after an event. It includes information on public area recycling equipment such as bin caps and colour-coded wheelie bins, and service area equipment such as a bale and frame, skip bins and portable compactors to assist in forming an effective waste management program. Their website also provides a range of case studies on event waste management.

REFER TO SECTION: Balancing the Impact of Events 40. Do smaller regional communities benefit from hosting local events?

Gibson and Stewart (2009), in their major study of regional festivals in New South Wales, Victoria and Tasmania, found that although festival organisers themselves may make little or no direct profit, festivals benefit many functionally related local small businesses such as cafes and restaurants, hotels and motels, pubs, sound and lighting suppliers, printers, advertising agencies, legal services, catering companies and petrol stations.

They found that certain inputs, such as staff, catering and staging, were primarily sourced locally, while stall holders and talent, including musicians, performers and contestants, were sourced from a wider geographical base, though with a substantial local component. They concluded that festivals are strongly connected to local economies, with a strong priority for festival organisers being to keep business in the local community.

REFER TO SECTION: Balancing the Impact of Events © John Wiley & Sons Australia, Ltd 2010 13

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management 5e by Allen et al

Chapter 4: The Strategic Planning Function MULTIPLE CHOICE 1.

What is strategic planning?

a. b. c. d.

It's about putting your head down and getting the job done It's about picking a destination and deciding how to get there It's about having a vision for the kind of world we want to live in It's about establishing rules and systems rigid enough to provide an organisation with structure and discipline

ANS: B. It's about picking a destination and deciding how to get there FEEDBACK: Easy.

REFER TO SECTION: What is Strategic Planning 2.

Strategic Plans are:

a. b. c. d.

One-off exercises Conclusive Focused and highly detailed Active and directional in nature

ANS: D. Active and directional in nature FEEDBACK: Easy.

REFER TO SECTION: What is Strategic Planning 3.

Which of the following correctly describes the phases of the strategic planning process in the correct order?

a.

Establishment of an organisational structure, strategic planning, feasibility analysis, concept development, legacy Strategic planning, feasibility analysis, establishment of an organisational structure, concept development, legacy Concept development, feasibility analysis, establishment of an organisational structure, strategic planning, legacy Feasibility analysis, establishment of an organisational structure, concept development, strategic planning, legacy

b. c. d.

ANS: C. Concept development, feasibility analysis, establishment of an organisational structure, strategic planning, legacy FEEDBACK: Moderate.

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Chapter 4: The strategic planning function

4.

In the 'concept' phase of the strategic planning process:

a. b. c. d.

The key features of the event are designed and developed The 'idea' for the event is pitched to investors The central features are marketed to potential customers The practical issues associated with the event concept are analysed and tested

ANS: A. The key features of the event are designed and developed FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 5.

In the strategic planning process, a feasibility analysis is:

a. b. c. d.

An assessment of the event's chances of securing finance A formal analysis of an event's potential A search for historical precedents of similar events An analysis of 'mission-critical' risks

ANS: B. A formal analysis of an event's potential FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 6.

During the formation of a bidding body and the bid preparation, a bid document:

a. b. c. d.

Is an analysis of an event's viability Is a history of past and potential future bids Is a formal pitch to the event owners Is a checklist of items needed before the bid can proceed

ANS: C. Is a formal pitch to the event owners FEEDBACK: Difficult.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 7.

A functional organisational structure:

a. b. c. d.

Is focussed on achieving the most efficient or functional organisation of work units Groups activities by function, as well as by project Is employed in projects that serve a function, such as the construction of roads Is based on the tasks an organisation needs to perform in order to fulfil its mission

ANS: D. Is based on the tasks an organisation needs to perform in order to fulfil its mission FEEDBACK: Difficult.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

8.

The limitations of the functional organisational structure are due to:

a. b. c. d.

It's inability to manage in larger, more complex festivals The structures inability to functionally evolve as the the event progresses Staff being forced to generalise rather than specialising in their areas of expertise Staff in individual functional areas being unaware of work in other areas, or of the festival's broader direction

ANS: D. Staff in individual functional areas being unaware of work in other areas, or of the festival's broader direction FEEDBACK: Difficult.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 9.

Program-based matrix structures of organisation:

a. b. c. d.

Requires leaders to be both a functional and a a project boss Groups work activities by function as well as by project Primarily allows the management team to specialise in management Pulls the functional expertise of work areas into a central body

ANS: B. Groups work activities by function as well as by project FEEDBACK: Difficult.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 10. A multi-organisational or network structure of organisation: a. b. c. d.

Involves a central management body 'out-sourcing' the services it needs Pools together the knowledge of many organisations into a collective management body Is the final stage in the evolution of an event organisation's structure All of the above

ANS: A. Involves a central management body 'out-sourcing' the services it needs FEEDBACK: Difficult.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 11. A central benefit of the multi-organisational or network structure of organisation is that: a. b. c. d.

It allows the event management firm to be actively engaged in all areas of the event's production It allows the event management firm to retain a body of staff and experts through all stages of the event It allows the event management firm to specialise in the management function It allows the event management firm to free itself of any concern for the implementation of its plans

ANS: C. It allows the event management firm to specialise in the management function FEEDBACK: Difficult.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

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Chapter 4: The strategic planning function

12. An event's organisational structure should: a. b. c. d.

Be firm, so as to provide certainty and stability to the organisational process Be able to adapt to the evolving needs of the event Evolve through a functional, to a program-based, to a network organisational structure All of the above

ANS: B. Be able to adapt to the evolving needs of the event FEEDBACK: Difficult.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 13. In the strategic planning process, a purpose statement: a. b. c. d.

Is a short list of objectives Is a broad, clear statement of the event's intention and strategy Describes in broadest terms the task that the event organisation has set for itself All of the above

ANS: B. Is a broad, clear statement of the event's intention and strategy FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 14. In the strategic planning process, vision statements: a. b. c. d.

Describe what an event organisation is seeking to achieve in the long run Are brief, precise and motivational in nature Are more in-depth than purpose statements All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 15. In the strategic planning process, vision statements: a. b. c. d.

Are brief, precise and motivational Are always presented distinctly from the event organisation's mission, vision and goals Are always written down and formalised All of the above

ANS: A. Are brief, precise and motivational FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

© John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management 5e by Allen et al

16. In the strategic planning process, a mission statement: a. b. c. d.

Is a short list of objectives Is a broad, clear statement of the event's intention and strategy Describes in broadest terms the task that the event organisation has set for itself All of the above

ANS: C. Describes in broadest terms the task that the event organisation has set for itself FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 17. A well-developed mission statement: a. b. c. d.

Defines an event's purpose Identifies beneficiaries Outline the events characteristics and the organisation's values All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 18. In a strategic planning process, goals: a. b. c. d.

Are brief, precise and motivational Are broad statements that seek to provide direction to those engaged in the organisation of the project Are used to quantify progress towards an event's vision and mission Describe in broad terms what an event hopes to achieve in the long run

ANS: B. Are broad statements that seek to provide direction to those engaged in the organisation of the project FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 19. In a strategic planning process, objectives: a. b. c. d.

Are brief, precise and motivational Are broad statements that seek to provide direction to those engaged in the organisation of the project Are used to quantify progress towards an event's goals Describe in broad terms what an event hopes to achieve in the long run

ANS: C. Are used to quantify progress towards an event's goals FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

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Chapter 4: The strategic planning function

20. In a strategic planning process, objectives: a. b. c. d.

Allow event organisations to assess what aspects of their planning have succeeded or failed Feed into the achievement of an event's goals Feed into an event's mission through an event's goals All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 21. In a strategic planning process, an example of an Economic objective is: a. b. c. d.

Dollar value of sponsorship attracted Number of community groups involved with the event Number of injuries Percentage of volunteers retained from previous year

ANS: A. Dollar value of sponsorship attracted FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 22. In a strategic planning process, an example of an Attendance/participation objective is: a. b. c. d.

Level of attendee satisfaction Percentage of income to be raised from fundraising activities Total attendance of individuals from individuals under 30 years of age Percentage of attendees that have changed levels of awareness as a result of the event

ANS: C. Total attendance of individuals from individuals under 30 years of age FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 23. In a strategic planning process, an example of a Quality objective is: a. b. c. d.

Number of complaints from attendees Percentage increase in market share Number of community groups involved in the event Percentage of staff turn-over

ANS: A. Number of complaints from attendees FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

24. In a strategic planning process, an example of an Awareness/Knowledge/Attitudes objective is: a. b. c. d.

Percentage returns on investment Percentage of staff turn-over Total attendance by people outside of the local area Percentage of attendees who have altered their attitudes as a result of the event

ANS: D. Percentage of attendees who have altered their attitudes as a result of the event FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 25. In a strategic planning process, an example of a Human Resources objective is: a. b. c. d.

Number of local versus international artists Percentage of staff turn-over Number of injuries Dollar value of sponsorship attracted

ANS: B. Percentage of staff turn-over FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 26. In a strategic planning process, a Situation Analysis, such as a SWOT analysis: a. b. c. d.

Determines an event's vision and mission Provides a framework for developing goals and objectives Is necessary before an event organisation develops its strategy Is a post-implementation review of strategy

ANS: C. Is necessary before an event organisation develops its strategy FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 27. In a strategic planning process, Operational Plans: a. b. c. d.

Support the event organisation's strategy Set out processes for achieving the objectives in an event's strategy Are formulated for each operational area, as required for the event All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

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Chapter 4: The strategic planning function

28. Within an event organisation's operational planning, a Standing Plan: a. b. c. d.

Are particularly well-suited to one-off events Consist of policies, rules and standard procedures Increase decision making time but allow for flexible and responsive policy All of the above

ANS: B. Consist of policies, rules and standard procedures FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 29. Within an event organisation's operational planning, during an Event Evaluation: a. b. c. d.

Reports are prepared for major stakeholders Problems and short-comings are identified Recommendations for change are made All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 30. In the context of events, Strategic Planning: a. b. c. d.

Can only be used for now or 'clean-sheet' events Can be used in new as well as established, recurring events Is likely to result in radical, rather than incremental change All of the above

ANS: B. Can be used in new as well as established, recurring events FEEDBACK: Moderate.

REFER TO SECTION: Strategic Planning for Existing Events

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

SHORT ANSWER/ESSAY QUESTIONS 31. What are some of the 'planning pitfalls' that event managers need to be conscious of?

Johnson and Scholes (2001) list three potential 'planning pitfalls' for event managers to be aware of.

These are: • Overplanning and becoming obsessed with detail as opposed to overall strategic considerations • Viewing plans as one-off exercises rather than active documents to be regularly consulted and adapted • Seeing plans as conclusive rather than directional in nature Event organisations should also be alert to the fact that occasionally successful strategies might emerge without prior planning (Hill et al. 2007). Such ‘emergent’ strategies may be a result of unforeseen circumstances, or might flow from actions taken for non-strategic reasons. For example, a community fair may decide to include a brief music program at its conclusion as a way of encouraging people to leave the event site progressively in order to reduce the big departure rush and subsequent traffic congestion. If this dimension of the program were to meet with a strong unexpected positive response from attendees, the event organisers might be prompted to consider changing the event’s format to embrace a stronger music component.

REFER TO SECTION: What is Strategic Planning

32. What kinds of things might be considered in a feasibility analysis? Why is it important?

A feasibility analysis is a formal study of a particular event's potential. This analysis will typically consider many factors, including • likely budget requirements; • managerial skill needs; • venue capacities; • host community and destination area impacts (both economic and non-economic); • availability of volunteers and supporting services (for example, equipment hire firms); • projected visitation/attendance; • infrastructure requirements; • availability of public/private sector financial support (for example, grants, sponsorship); • level of political support for the event; and • the track record of the event in terms of matters such as profitability.

It should be noted that the level of detail and complexity associated with these studies will vary. An event such as an Olympic Games, for example, will involve a more lengthy and detailed analysis than, say, a state sporting championship or an association conference.

Given that many events seek public funding to support their creation and delivery, the capacity of an event’s organisers to convince government granting bodies of the ‘feasibility’ of their event is often crucial to its proceeding. This being the case, event organisers can benefit from using the criteria employed by granting bodies when evaluating the feasibility or otherwise, of their event.

FEEDBACK: Refer to section: The Strategic Planning Process and Event Organisations © John Wiley & Sons Australia, Ltd 2010 10

Chapter 4: The strategic planning function

33. What steps are typically involved in the bidding process?

Once it has been decided to proceed with a bid, which is a pitch to prepare and run an event on another organisation's behalf, a body will need to be established to prepare a formal bid document.

The bidding process then commonly involves a number of steps: • developing a timeline for the preparation and presentation of a bid document to the • owners of the event • responding to each of the bid criteria set by the event owners • identifying the key elements of past successful bids to ensure these elements are dealt with fully in the bid document • preparing a bid document • presenting and/or submitting a bid to the owners of the event • lobbying in support of the bid • evaluating reasons for bid failure (if necessary).

It should be kept in mind that the bidding process is likely to commence a number of years out from the date an event is scheduled to take place. It is also not uncommon for organisations seeking to host an event to go through the bidding process on several occasions before they are successful, if indeed they do succeed.

REFER TO SECTION: The Strategic Planning Process and Event Organisations 34. Briefly describe the different organisational structures employed in the delivery of events.

What are their advantages?

There are three main types of organisational structures relevant to events: Functional, Programbased, and Network.

A functional structure is based upon the main tasks or functions that an organisation needs to perform in order to fulfil its mission. Such tasks commonly emerge from the work breakdown structure process, and will vary from event to event. In this structure people are able to specialise, and so make use of their pre-existing expertise in a specific area and/or further develop such expertise. It also enables the organisation to track how much work is being allocated to each workgroup.

Program-based Matrix structures group activities by function as well as by project. This means that people working within such a structure commonly have two bosses: a functional boss who is responsible for the particular function to which they have been assigned; and a project boss who is responsible for the specific project on which they are working. In an event context, these structures can be seen in operation in large scale multi-venue events, such as an Olympic Games.

Multi-organisational or network structures refer to ‘virtual’ organisations that come together quickly and are disbanded shortly after an event is concluded. Central among the benefits of employing this structure is its ability to allow the event management firm to specialise in the ‘management’ function and so become increasingly capable in this area. This structure also avoids the need to maintain a large staff with multiple skills, which for periods between events would have little or nothing to do. Other advantages of the network structure include the ability to contract specialist businesses with current expertise and experience; greater accuracy in the event costing process as supplier expenses can be established via the contracting process; and quick decision making as the ‘core’ management group is made up of only a few people or one individual. © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management 5e by Allen et al

REFER TO SECTION: The Strategic Planning Process and Event Organisations 35. What is a Functional Organisational Structure? What are some of the disadvantages of this approach, and how might they be overcome?

A functional structure is based upon the main tasks or functions that an organisation needs to perform in order to fulfil its mission. Such tasks commonly emerge from the work breakdown structure process, and will vary from event to event.

While a widely used approach to structuring the organisation of an event, there are nonetheless potential limitations to this method. These include problems of coordination due partly to a lack of understanding by staff in individual functional areas of the responsibilities of people in other task areas, and the possibility of conflict between functional areas as each seeks to protect what it considers its interests (Hill et al. 2007).

Various techniques can be identified that go some way to preventing these problems. These comprise employing multi-skilling strategies that require the rotation of staff through different functional areas, regular meetings between the managers/chairs of all functional areas, general staff meetings, and communications (such as newsletters) that aim to keep those engaged on the event aware of matters associated with its current status (for example, budgetary situations or the passing of milestones).

REFER TO SECTION: The Strategic Planning Process and Event Organisations

36. Why might an event move from a Functional to a Program-based Matrix organisation structure?

A functional structure is based upon the main tasks or functions that an organisation needs to perform in order to fulfil its mission. Such tasks commonly emerge from the work breakdown structure process, and will vary from event to event.

Program-based Matrix structures group activities by function as well as by project. This means that people working within such a structure commonly have two bosses: a functional boss who is responsible for the particular function to which they have been assigned; and a project boss who is responsible for the specific project on which they are working. In an event context, these structures can be seen in operation in large scale multi-venue events, such as an Olympic Games.

Toohey and Halbwirth (2001) note that the organisational structure of the 2000 Sydney Olympic Games, for example, moved from a purely functional structure to that of a venue-based matrix structure as the event approached. The reason for this movement lay in the need to ‘push’ functional expertise (for example, security, ticketing), which had been developed centrally, out to venues where these tasks needed to be actually undertaken. Additionally, by acting in this way, decisionmaking bottlenecks and communication problems that might have occurred under a centralised functional structure were able to be largely avoided.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

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Chapter 4: The strategic planning function

37. What are the disadvantages associated with employing a Multi-organisational or Network organisational structure?

Multi-organisational or network structures refer to ‘virtual’ organisations that come together quickly and are disbanded shortly after an event is concluded. Central among the benefits of employing this structure is its ability to allow the event management firm to specialise in the ‘management’ function and so become increasingly capable in this area. This structure also avoids the need to maintain a large staff with multiple skills, which for periods between events would have little or nothing to do.

However, there are also disadvantages to be considered, including concerns over quality control and reliability that arise from the use of outside contractors, and the associated potential difficulties involved in developing an integrated event ‘team’ to deliver the event. However, there are strategies to manage these concerns.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

38. Briefly describe the strategy process employed in the development of a strategic plan?

The strategy process is essentially about identifying the purpose or vision/mission an event organisation is seeking to fulfil or process through conducting a specific event, and creating plans and undertaking actions, to achieve that purpose or vision/mission (Lynch 2006, p. 5). It is a staged process involving an event organisation determining the current situation it faces (strategic awareness), the strategic options available to it (strategic choices) and the mechanisms for implementing, monitoring and evaluating whatever strategy(ies) it selects (strategic implementation) (Thompson 1997, p. 51). Additionally, in the case (particularly) of large-scale events where the creation of legacy outcomes (such as new infrastructure developments) are an aspect of an event’s overall strategy, event organisations will need to consider how they will drive this aspect of the overall event program.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

39. In a strategic planning process, what is the difference between goals and objectives?

Goals and objectives are established after an event's mission has been decided. They are distinct concepts. Goals are broad statements that seek to provide direction to those engaged in the organisation of the event. They are particularly useful when events are complex nature and have a number of stakeholders. In such instances, they serve a role in expanding on an event’s mission statement in order to provide more detailed direction to those involved in its creation and delivery.

Objectives on the other hand, are used to quantify progress towards an event’s goals and as such set performance benchmarks, so allowing event organisations to assess what aspects of planning have succeeded or failed.

REFER TO SECTION: The Strategic Planning Process and Event Organisations

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

40. In a strategic planning process, what criteria can be used in the establishment of useful objectives?

Objectives are used to quantify progress towards an event’s goals and as such set performance benchmarks, so allowing event organisations to assess what aspects of their planning have succeeded or failed. Useful criteria that can be applied to the establishment of objectives are summed up by the acronym SMART, which refers to the fact that objectives should be: • specific — focused on achieving an event goal (or, if no goals have been developed, its purpose) • measurable — expressed in a way that is quantifiable (when at all possible) • agreeable — agreed on by those responsible for achieving them • realistic — in terms of the event organisation having the human, financial and physical resources to achieve them • time specific — to be achieved by a particular time (ChangingMinds.org 2006).

REFER TO SECTION: The Strategic Planning Process and Event Organisations

© John Wiley & Sons Australia, Ltd 2010 14

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management 5e by Allen et al

Chapter 5: Conceptualising the Event MULTIPLE CHOICE 1.

The term 'Stakeholders' refers to:

a. b. c. d.

The participants, spectators, and event staff The host organisation, the host community and sponsors Entities with a legitimate interest in the outcomes of the event All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Stakeholders in Events 2.

In contemporary events management, an event will be deemed a success if:

a. b. c. d.

It satisfies all the needs and expectations of its audience The host community feels that the event had a positive impact overall All the competing needs and expectations of the various stakeholders were balanced It is financially profitable

ANS: C. All the competing needs and expectations of the various stakeholders were balanced FEEDBACK: Easy.

REFER TO SECTION: Stakeholders in Events 3.

When considering an event's stakeholders the 'host organisation' refers to:

a. b. c. d.

The venue where the event will take place The entity initiating the event The network or organisation representing the interests of the local community The event management company contracted to run the event

ANS: B. The entity initiating the event FEEDBACK: Moderate.

REFER TO SECTION: The Host Organisation 4.

A major event, such as a ticker-tape parade for returned athletes, will most likely be generated by a government sector:

a. b. c. d.

Event corporation Sport and recreation department Local government body Tourism department

ANS: A. Event corporation FEEDBACK: Moderate.

REFER TO SECTION: The Host Organisation © John Wiley & Sons Australia, Ltd 2010 2

Chapter 4: The strategic planning function

5.

A civic celebration, such as the Australia Day celebrations, will most likely be generated by:

a. b. c. d.

An event corporation The central government A local government body A tourism department

ANS: b. The central government FEEDBACK: Moderate.

REFER TO SECTION: The Host Organisation 6.

A major arts festival, such as the Adelaide Festival, will most likely be generated by:

a. b. c. d.

An event corporation The central government The arts and culture department of state government A tourism department

ANS: C. The arts and culture department of state government FEEDBACK: Moderate.

REFER TO SECTION: The Host Organisation 7.

Considering the corporate sector host organisations, industry promotions, trade fairs and conferences will most likely be generated by:

a. b. c. d.

An entrepreneur A company An industry association A Media organisation

ANS: C. An industry association FEEDBACK: Moderate.

REFER TO SECTION: The Host Organisation 8.

Considering the corporate sector host organisations, ticketed sporting events, concerts and exhibitions will most likely be generated by:

a. b. c. d.

An entrepreneur A company An industry association A Media organisation

ANS: A. An entrepreneur FEEDBACK: Moderate.

REFER TO SECTION: The Host Organisation

© John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management 5e by Allen et al

9.

Considering the corporate sector host organisations, a gala product launch will most likely be generated by:

a. b. c. d.

An entrepreneur A company An industry association A Media organisation

ANS: B. A company FEEDBACK: Moderate.

REFER TO SECTION: The Host Organisation 10. Considering the range of host organisations, a local car-club rally will most likely be generated by: a. b. c. d.

A community sector sports organisation A community sector Charity organisation A community sector club or society A government sector local government body

ANS: C. A community sector club or society FEEDBACK: Moderate.

REFER TO SECTION: The Host Organisation 11. When considering an event's stakeholders the 'host community' refers to: a. b. c. d.

The geographical community where the event is located A community of interest from which the event draws its participants Public authorities such as council, transport, police etc.

All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Host Community 12. In terms of events, Globalisation means: a. b. c. d.

More events targeted at global audiences A global pool of creative talent Audiences expecting more from events All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Host Community

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Chapter 4: The strategic planning function

13. In terms of events, Globalisation challenges local communities to: a. b. c. d.

Maintain their unique culture in the face of global homogenisation Produce events that compete at an international standard Produce events at an international standard that still express the uniqueness of the local community All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Host Community 14. The increasing technological sophistication of events: a. b. c. d.

Allows the interaction of people to become a feature of events Provides new ways for participants to engage with the event Increases the time and effort required to manage the event All of the above

ANS: B. Provides new ways for participants to engage with the event FEEDBACK: Difficult.

REFER TO SECTION: The Host Community 15. In terms of events, sponsorship: a. b. c. d.

Has always been regarded as a public relations tool Was traditionally regarded as a public relations tool, but is increasingly seen as a promotional tool in the marketing mix Was traditionally regarded as a promotional tool in the marketing mix, but is increasingly seen as a public relations tool Has always been regarded as a promotional tool in the marketing mix

ANS: B. Was traditionally regarded as a public relations tool, but is increasingly seen as a promotional tool in the marketing mix FEEDBACK: Moderate.

REFER TO SECTION: Sponsors 16. In order to attract sponsorships, event managers must: a. b. c. d.

Maximise the number of event participants Maximise the sponsor's exposure through the events marketing and execution Ensure that the event has a close fit with the sponsor's corporate objectives and a demonstrable ability to deliver the desired benefits All of the above

ANS: C. Ensure that the event has a close fit with the sponsor's corporate objectives and a demonstrable ability to deliver the desired benefits FEEDBACK: Moderate.

REFER TO SECTION: Sponsors © John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management 5e by Allen et al

17. With regards to the sourcing of events, an example of an 'in-house' event is: a. b. c. d.

An events company being engaged to run a corporation's Christmas party A staff member of a TAFE being asked to organise an open day A region's call for formal applications to run its New Years Eve celebrations A region's offer to host the World Swimming Championships

ANS: B. A staff member of a TAFE being asked to organise an open day FEEDBACK: Moderate.

REFER TO SECTION: Sourcing Events 18. With regards to the sourcing of events, an example of pitching for an event is: a. b. c. d.

An events company's proposal to run a corporation's Christmas party A staff member of a TAFE being asked to organise an open day A region's call for formal applications to run its New Years Eve celebrations A region's offer to host the World Swimming Championships

ANS: A. An events company's proposal to run a corporation's Christmas party FEEDBACK: Moderate.

REFER TO SECTION: Sourcing Events 19. With regards to the sourcing of events, an example of tendering for an event is: a. b. c. d.

An events company's proposal to run a corporation's Christmas party A staff member of a TAFE being asked to organise an open day A region's call for formal applications to run its New Years Eve celebrations A region's offer to host the World Swimming Championships

ANS: C. A region's call for formal applications to run its New Years Eve celebrations FEEDBACK: Moderate.

REFER TO SECTION: Sourcing Events 20. With regards to the sourcing of events, an example of bidding for an event is: a. b. c. d.

An events company's proposal to run a corporation's Christmas party A staff member of a TAFE being asked to organise an open day A region's call for formal applications to run its New Years Eve celebrations A region's offer to host the World Swimming Championships

ANS: D. A region's offer to host the World Swimming Championships FEEDBACK: Moderate.

REFER TO SECTION: Sourcing Events

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Chapter 4: The strategic planning function

21. With regards to the sourcing of events, an example of franchising an event is: a. b. c. d.

FIFA World Cup Sydney Dance Company's national tour The Croc Festival The National Junior Gymnastics Titles

ANS: C. The Croc Festival FEEDBACK: Difficult.

REFER TO SECTION: Sourcing Events 22. In the process of creating an event concept, the first step is to: a. b. c. d.

Identify the event audience Choose the event concept Choose the timing of the event Define the purpose of the event

ANS: D. Define the purpose of the event FEEDBACK: Moderate.

REFER TO SECTION: Creating the Event Concept 23. Which of the following, according to Goldblatt (1997), describes the 'five W's' of the event creation process, in the correct order? a. b. c. d.

What, Who, Where, When, Why Why, Who, When, Where, What What, Why, Who, When, Where When, Where, Who, Why, What

ANS: B. Why, Who, When, Where, What FEEDBACK: Difficult.

REFER TO SECTION: Creating the Event Concept 24. According to Goldblatt's 'five W's' description of the event creation process, the 'Who' refers to: a. b. c. d.

Who will be the event's stakeholders, internal and external?

Who will be the event's key audience?

Who will provide the services required to stage the event?

All of the above

ANS: A. Who will be the event's stakeholders, internal and external FEEDBACK: Difficult.

REFER TO SECTION: Creating the Event Concept

© John Wiley & Sons Australia, Ltd 2010 7

Testbank to accompany Festival and Special Event Management 5e by Allen et al

25. According to Goldblatt's 'five W's' description of the event creation process, the 'What' refers to: a. b. c. d.

What will be the benchmark for the event's success?

What is the event's purpose?

What is the event's content or product?

All of the above

ANS: C. What is the event's content or product?

FEEDBACK: Difficult.

REFER TO SECTION: Creating the Event Concept 26. Designing events as experiences means: a. b. c. d.

Creating events that are not soon forgotten Paying careful and thematic attention to site preparations Providing entertainment that goes beyond the core activities of the event and that exceed the participant's expectations Holistically considering the participant's relationship to the event, including the emotional connections made and the event's perceived meaning and significance

ANS: D. Holistically considering the participant's relationship to the event, including the emotional connections made and the event's perceived meaning and significance FEEDBACK: Difficult.

REFER TO SECTION: Creating the Event Concept 27. When evaluating the event concept, a feasibility study: a. b. c. d.

Examines whether the events objectives can be delivered successfully Examines whether the events objectives can be delivered on time Examines whether the events objectives can be delivered with the available resources All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Evaluating the Event Concept 28. When evaluating the event concept, Shone and Parry's (2004) marketing screen: a. b. c. d.

Examines the available strategies for publicising the event Examines the resources required to advertise the event sufficiently Examines how the target audience is likely to respond to the event concept All of the above

ANS: C. Examines how the target audience is likely to respond to the event concept FEEDBACK: Moderate.

REFER TO SECTION: Evaluating the Event Concept

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Chapter 4: The strategic planning function

29. When evaluating the event concept, Shone and Parry's (2004) operations screen: a. b. c. d.

Considers the skills necessary to deliver the event Considers the resources necessary to deliver the event Decides whether the event can be produced in-house, or if outside help is needed All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Evaluating the Event Concept 30. When evaluating the event concept, Shone and Parry's (2004) financial screen: a. b. c. d.

Determines whether the event organisation has the financial resources required to stage the event Determines what the event's financial objectives are, to break even or to turn a profit for example Considers cash flows across time, not just total revenue All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Evaluating the Event Concept

© John Wiley & Sons Australia, Ltd 2010 9

Testbank to accompany Festival and Special Event Management 5e by Allen et al

SHORT ANSWER/ESSAY QUESTIONS 31. Why must event managers stay abreast of broad social changes? How has climate change affected host communities' expectations of events?

Event managers need to have a good grasp and understanding of the broad trends and forces acting on the wider community, as these will determine the operating environment of their events. The mood, needs and aspirations of the community will determine its receptiveness to event styles and fashions. Accurately gauging and interpreting these are basic factors in the conceptualising of successful events.

A major factor currently impacting on events is climate change, and the resulting worldwide interest and commitment to sustainability and the protection of the environment. This has given rise to specific events that aim to galvanise public opinion and action, such as Earth Hour, which was celebrated in 4000 cities in 88 countries in 2009, encouraging people to turn out their lights for an hour in order to show their support for the environment (Earth Hour 2009). The sustainability issue has also given rise to a wide range of initiatives to green events and reduce their carbon footprint, such as the use of environmentally sustainable products and services, the use of green electrical power, and catering with food sourced from the local district.

REFER TO SECTION: The Host Community

32. What does globalisation mean for events? What challenges does it present?

The process of globalisation together with the meteoric rise of communications technology, have combined to make the world seem both smaller and more complex. .As international travel, trade and communications increase, national boundaries and local differences are increasingly subsumed into the global marketplace.

Truly global media networks are challenging local cultures to maintain their own uniqueness and identity in the face of global homogenisation. International arts festivals increasingly draw from the same pool of touring companies to produce similar programs. Local festivals and celebrations must increasingly compete with international products and the raised expectations of audiences accustomed to streamlined television production. The challenge for many events is how to function in this increasingly global environment while expressing the uniqueness of local communities and addressing their specific interests and concerns.

Globalisation also influences corporate events as companies increasingly plan their marketing strategies, including their event components, with potential global audiences in mind. This has resulted in some local Australian event companies being bought out by overseas companies in an attempt to create networks that can serve the international needs of their clients. This approach sometimes comes unstuck as different markets in, say, New York, Sydney and Hong Kong reflect different event needs and audience responses. However, the forces of globalisation are likely to lead to an increasing standardisation of the corporate event product and market.

REFER TO SECTION: The Host Community

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Chapter 4: The strategic planning function

33. Why is it important to involve the host community in the event? How might this be done?

The host community can refer to the geographical community where the event is located, or a community of interest from which the event draws its participants and spectators. Many researchers have recognised the importance of the host community being involved in and ‘owning’ the event, An engaged host community helps create a friendly environment for the event to take place in, provides vital support services, and can act as advocates, or grass-roots publicists for the event.

Many community members actively participate in events in their communities, and act as advocates on behalf of the event to potential participants. The Sydney Gay and Lesbian Mardi Gras and Nimbin’s Mardi Grass are examples of events that are fuelled by social activists committed to the goals of the event. Local participation and ownership of events is perhaps most visible in the many local and regional events that continue to exist only because of the committed input of dedicated volunteers.

A local rumour mill can also often make or break the host community’s attitude to the event. “Word of Mouth” can have a huge impact on the success of an event, and in some cases, can almost act as a substitute for publicity. This support base must be treated as one of the event's most valuable assets.

The host community may also include residents, traders, lobby groups and public authorities such as council, transport, police, ambulance and fire brigades. The event manager should aim to identify and involve representatives of these groups, and to consult them in the planning of the event.

Councils may have certain requirements, such as parade and catering permits. Often police and councils will combine to form a ‘one stop shop’ for such matters as street closures, special access and parking arrangements. If the event is large enough to impact significantly beyond the boundaries of the venue, a public authorities’ briefing may identify innovative ways to minimise the impact and manage the situation.

REFER TO SECTION: The Host Community

34. What are sponsors looking to get out of events?

In recent decades, there has been an enormous increase in sponsorship, and a corresponding change in how events are perceived by sponsors. There has been a shift by many large companies from viewing sponsorship largely as a public relations tool generating community goodwill, to regarding it as a primary promotional tool in the marketing mix. Successful major events are now perceived as desirable properties, capable of increasing brand awareness and driving sales. They also provide important opportunities for relationship building through hosting partners and clients. Corporations invest large amounts in event sponsorship, and devote additional resources to supporting their sponsorships, to achieve corporate objectives and sales goals.

Different sponsors will want different things from an event. Attendance numbers at the event, for example, may not be as important to some sponsors as the media coverage that it generates. It may be important for their chief executive to officiate or to gain access to public officials in a relaxed atmosphere. They may be seeking mechanisms to drive sales, or want to strengthen client relationships through hosting activities. The event manager should take the opportunity to go beyond the formal sponsorship agreement and to treat the sponsors as partners in the event. © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management 5e by Allen et al

REFER TO SECTION: Sponsors 35. How has the evolution of the media industry affected the way events are run?

The rise in television, and more recently the internet, has expanded exponentially the potential audiences for events in just a few decades. This has made more and more mega events feasible, as the audience now extends beyond the people actually at the event.

However, media technology is also changing the nature of the events themselves. Mobile phone applications such as the Optus Festival Buddy for the Sydney Festival allow festival audiences to plan their attendance, purchase tickets, read event descriptions and reviews, access directions and public transport details, and interact with each event on their favourite social networks. Other specialised applications enable sports fans to access the latest results and news as it happens for a range of sports events from their mobile phones.

The social media, including Facebook Twitter, YouTube, Flickr and LinkedIn, have made events more personalised in their communication and more interactive. Many events now incorporate social media into their websites, enabling patrons to feed back their comments and opinions, exchange views with other event participants, and even participate in the design and programming of events.

This revolution in the media has in turn revolutionised the conduct of events. Media innovations such as YouTube have created new forms of virtual events, such as the You Tube Orchestra, with musicians from 30 countries selected from 3000 musicians by open audition on YouTube, leading to a live performance in Carnegie Hall in April 2009 and available for viewing on YouTube (Nichols 2009). The Portable Film Festival enables phone owners to participate in a short film festival with selected films downloaded to their phones.

Events now have a virtual existence in the media at least as powerful, sometimes more so, than in reality. The live audience for a sports event or concert may be dwarfed by the television audience.

Indeed, the event may be created primarily for the consumption of the television audience. This in turn affects the conceptualisation of the event, as in the case of One Day Cricket and Super League, where the competition formats have been modified in order to create more appealing television product.

REFER TO SECTION: Media

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Chapter 4: The strategic planning function

36. What are the 'five W's' That Goldblatt (1997) suggest are the 5 key questions in creating an event concept?

Goldblatt (1997) suggests that the process of creating an event concept can be summarised by asking five key questions that he terms the ‘five Ws’ of the event.

1. Why is the event being held? There must be compelling reasons that confirm the importance and viability of holding the event.

2. Who will be the stakeholders in the event? These include internal stakeholders, such as the board of directors, committee, staff and audience or guests, and external stakeholders such as media and politicians.

3. When will the event be held? Is there sufficient time to research and plan the event? Does the timing suit the needs of the audience, and if the event is outdoors, does it take the likely climatic conditions into account?

4. Where will the event be staged? The choice of venue must represent the best compromise between the organisational needs of the event, audience comfort, accessibility and cost.

5. What is the event content or product? This must match the needs, wants, desires and expectations of the audience, and must synergise with the why, who, when and where of the event.

REFER TO SECTION: Creating the Event Concept

37. What does it mean to approach events as experiences? How does this change the way events are conceptualised?

Some writers (Silvers 2004; Berridge 2007) approach events as experiences, and note the role and importance of such experiences in contemporary lifestyles and the modern economy. People seek and embrace experiences that enrich their lives, and that resonate with their images of themselves and of their desired or imagined lifestyles. Thus lifestyle events that cater to people’s tastes in music, fashion, leisure, food and wine become part of how they define themselves, and how they construct their identity and social networks. Companies also create events that enable their clients to experience the personality and attributes of their brands and products.

From an event manager’s viewpoint, an event can be seen as a designed experience, consciously created in order to achieve a given purpose or objective. The task of the event manager is, then, to formulate a clear vision of the event experience, and to identify and design the elements needed for the experience to be realised. Seen from this perspective, the role of design in events involves much more than just the invitation, sets, costumes and table settings. The design process involves a myriad of decisions and choices that contribute to the overall experience of the event attendees.

It includes elements such as the site layout, flow of guests, performance program, catering, security, site decoration and atmosphere. Berridge (2007) suggests that the design process can also be applied to the senses (sight, hearing, touch, smell and taste), interaction (such as trying out products and sampling services), the emotions and even the meaning and significance that participants take away from events. The total effect of these decisions will determine the nature of the event experience, and how it is received by individual participants or guests.

REFER TO SECTION: Creating the Event Concept

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

38. How can a marketing screen be used to evaluate an event concept?

Shone and Parry (2004) describe a ‘screening process’ for examining the feasibility of an event.

One of the screens used to determine whether an event concept matches the needs and resources of the event is the marketing screen.

The marketing screen involves examining how the target audience of the event is likely to respond to the event concept. To determine this, an environmental scanning process needs to be conducted.

This will help to determine whether the event concept resonates with current tastes and fashions, and whether it is likely to be perceived as innovative and popular or as boring and predictable. A good barometer will be the media response to the concept. If media representatives consider it to be of current interest, they are likely to become allies in the promotion of the event. If the media response is poor, then it will be difficult to promote interest and engage the audience.

For much of this assessment, event managers will need to rely on their own instincts and on testing the response of friends, co-workers and stakeholders to the concept. An alternative, particularly if a large investment is involved in the event, is to undertake some form of market research. This can be done within the resources of the event management company or by employing marketing professionals to conduct a market survey or focus group research. Such research may reveal not only the likely market acceptance of the concept, but also additional information, such as how much the target audience is prepared to pay for the event, or how the event concept may be adapted to meet market expectations or requirements.

A further factor in the environmental scan will be to examine the competition provided by other events in the market. This step will examine whether there are other events on a similar theme or in a similar timeframe, or major events and public holidays that are likely to impact on the target market. An investigation of the competition through a ‘What’s On’ in the city listing, tourism event calendars and so on will assist the event manager to identify and hopefully avoid direct competition with other events in the marketplace REFER TO SECTION: Evaluating the Event Concept

39. How can an operations screen be used to evaluate an event concept?

Shone and Parry (2004) describe a ‘screening process’ for examining the feasibility of an event.

One of the screens used to determine whether an event concept matches the needs and resources of the event is the operations screen.

The operations screen will consider the skills and resources needed to stage the event successfully, and whether the event manager has these skills and resources or can develop them or buy them in for the event. Specialised technical skills, for example, may be needed to implement the event concept. The event manager will need to consider whether event company staff members have these skills, or whether an external supplier needs to be engaged to provide them. Special licenses, permits or insurance may be needed in order to implement the concept. If the event concept is highly innovative and challenging, the event manager may need to consider the degree of risk involved. It may be desirable to deliver an innovative event, but costly and embarrassing if the event is a failure because the skills and resources available to stage it are inadequate.

Another major consideration, as part of the operations screen, is staffing. This step will examine © John Wiley & Sons Australia, Ltd 2010 14

Chapter 4: The strategic planning function

whether the event company has sufficient staff available with the right mix of skills and at the right time, place and cost to deliver the event effectively. If the event needs to rely heavily on volunteers, the operations screen will examine whether sufficient numbers are likely to be available, and whether the right motivation, training and induction procedures are in place.

REFER TO SECTION: Evaluating the Event Concept

40. How can a financial screen be used to evaluate an event concept?

Shone and Parry (2004) describe a ‘screening process’ for examining the feasibility of an event.

One of the screens used to determine whether an event concept matches the needs and resources of the event is the financial screen.

The financial screen examines whether the organisation running the event has sufficient financial commitment, sponsorship and revenue to undertake the event. The first step in this process is to decide whether the event needs only to break even, which may be the case if it is being staged as a company promotional event, or whether it is required to make a profit for the host organisation.

The next step will be to undertake a ‘ballpark’ budget of the anticipated costs and income of the event. Breaking the event down into its component parts will allow an estimate to be formed of the costs for each component. A generous contingency should be included on the cost side of the ledger, as at this stage of the event there are bound to be costs that have been underestimated or not yet identified. Calculating the income may require deciding on an appropriate pricing strategy and identifying the ‘break-even’ point of ticket sales. Other key revenue items to take into account may include potential government grants or subsidies, merchandising income and sponsorship support, both in cash and in-kind. It is important not to overestimate the sponsorship potential, and professional advice or a preliminary approach to the market may be required in order to arrive at a realistic estimate.

Cash flow is an important aspect of the financial screen often overlooked by inexperienced event managers. It is important not only to have sufficient funds to cover the expenses of the event, but to have them available when they are required. If, for example, a large part of the revenue is likely to be from ticket sales on the day, then it may be necessary to chart out the anticipated expenditure flow of the event, and to consider whether credit arrangements need to be made REFER TO SECTION: Evaluating the Event Concept

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Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management 5e by Allen et al

Chapter 6: Project Management for Events MULTIPLE CHOICE 1.

Special events and festivals are projects because they:

a. b. c. d.

Are non-routine and occur at or over a specific period Are limited by time, budget and scope Produce an outcome designed to meet a client’s need All of the above

ANS: D. All of the above FEEDBACK: Very easy.

REFER TO SECTION: Project Management 2.

Project Management is a system that describes:

a. b. c. d.

The work before the event actually starts The event itself The shutdown of the event All of the above

ANS: D. All of the above FEEDBACK: Very easy.

REFER TO SECTION: Project Management 3.

Project Management is called 'overlay' because:

a. b. c. d.

It is often represented at the top of the organisation's hierarchy It integrates all the tasks of management so they can work towards the event objectives It actively oversees all sub-committees and teams It often results in duplication of effort

ANS: B. It integrates all the tasks of management so they can work towards the event objectives FEEDBACK: Moderate.

REFER TO SECTION: Project Management 4.

Which of the following describes the phases of project management, in the correct order?

a. b. c. d.

Planning, initiation, implementation, event, shutdown Initiation, planning, implementation, event, shutdown Initiation, planning, implementation, shutdown, event Planning, implementation, initiation, event, shutdown

ANS: B. Initiation, planning, implementation, event, shutdown FEEDBACK: Easy.

REFER TO SECTION: Phases of the project management of events

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Chapter 6: Project management for events

5.

The Local council of the town of Crystal Brook in South Australia is discussing hosting an antiques fair, in order to encourage tourists to the region. Which phase of project management does this fit into?

a. b. c. d.

Initiation Implementation Planning Shut-down

ANS: A. Initiation FEEDBACK: Moderate.

REFER TO SECTION: Phases of the project management of events 6.

Having decided to host a motor-cycle race, an events company is conducting a feasibility study. Which phase of project management does this fit into?

a. b. c. d.

Initiation Implementation Planning Shut-down

ANS: A. Initiation FEEDBACK: Moderate.

REFER TO SECTION: Phases of the project management of events 7.

The events company that was hired to produce an annual dinner for a large charity is writing a wrap-up report and discussing ways to improve the event. Which phase of project management does this fit into?

a. b. c. d.

Initiation Implementation Planning Shut-down

ANS: D. Shut-down FEEDBACK: Moderate.

REFER TO SECTION: Phases of the project management of events 8.

The management team is preparing a Work In Progress report for the major sponsors of music festival. Which phase of project management does this fit into?

a. b. c. d.

Initiation Implementation Planning Shut-down

ANS: B. Implementation FEEDBACK: Moderate.

REFER TO SECTION: Phases of the project management of events © John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management 5e by Allen et al

9.

Knowledge areas are:

a. b.

The existing expertise of the project management team The specific areas of management responsibility that facilitate the management of the overall project through specialised plans and deliverables Key stake-holders, who bring important expertise or resources to the project Autonomous management divisions with enough experience and resources to be able act independently of the project manager and the project plan

c. d.

ANS: b. The specific areas of management responsibility that facilitate the management of the overall project through specialised plans and deliverables FEEDBACK: Difficult.

REFER TO SECTION: Phases of the project management of events 10. Event managers are often concerned with knowledge areas that traditional project managers are not. Two examples are: a. b. c. d.

Designing and marketing the event Finance and risk Marketing and human resources Risk and stakeholder management

ANS: A. Designing and marketing the event FEEDBACK: Difficult.

REFER TO SECTION: Phases of the project management of events 11. If events are projects, but event managers aren't always project managers, what can be done about this? a. b. c. d.

Expand the skill base of the event manager to include project management Reduce the responsibilities of the event manager and hire a project manager Train existing project managers in events management All of the above.

ANS: D. All of the above.

FEEDBACK: Easy.

REFER TO SECTION: Phases of the project management of events 12. In the project management technique of defining the project and the scope of work, which of the following is not included? a. b. c. d.

Stakeholder management plan Statement of work Resource analysis Client brief / event brief

ANS: C. Resource analysis FEEDBACK: Difficult.

REFER TO SECTION: Project management techniques © John Wiley & Sons Australia, Ltd 2010 4

Chapter 6: Project management for events

13. ‘WBS’ is a project management technique. ‘WBS’ stands for a. b. c. d.

Work Breakdown Structure World Best Standards Work Base Sharing Work Balancing Systems

ANS: A. Work Breakdown Structure FEEDBACK: Easy.

REFER TO SECTION: Project management techniques

14. The project management technique WBS does not: a. b. c. d.

Break the many tasks involved in a project down into manageable units Focus management on the work required to deliver the project Create a template for the management's organisational structure Create a visual display of all the work that needs to be done

ANS: C. Create a template for the management's organisational structure FEEDBACK: Difficult. In project management it is common to map the WBS on to the organisational structure in order to identify tasks and responsibilities. However, the WBS does not dictate the organisational structure itself.

REFER TO SECTION: Project management techniques 15. The project management technique of Resource Analysis: a. b. c. d.

Details potential sources of capital Reports on what impact movements in commodity markets, such as oil and coal, will have on the event Outlines the impact the event will have on the environment Allows the event management to decide where the goods and services required for the event will be sourced from

ANS: D. Allows the event management to decide where the goods and services required for the event will be sourced from FEEDBACK: Moderate.

REFER TO SECTION: Project management techniques 16. Project Managers prefer a task / responsibility list to the minutes of a meeting because: a. b. c. d.

They are more direct, and action items are not hidden amongst other information They list action items, without getting caught up in who does what They provide a complete picture of the festival, include past and future directions They are a private document and not open to anyone else in the event team

ANS: A. They are more direct, and action items are not hidden amongst other information FEEDBACK: Moderate.

REFER TO SECTION: Project management techniques © John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management 5e by Allen et al

17. Which of the following is not a scheduling technique? a. b. c. d.

Gantt Chart Task Responsibility Chart Network Analysis Critical Path

ANS: B. Task Responsibility Chart FEEDBACK: Moderate. The Task Responsibility Chart comes out of the process of identifying tasks and responsibilities REFER TO SECTION: Project management techniques 18. Which of the following is not expressed in the Project Management Triangle? a. b. c. d.

Time / Cost / Scope Time / Cost / Quality Time / Tasks / Resources Time / Management / Stakeholders

ANS: D. Time / Management / Stakeholders FEEDBACK: Difficult.

REFER TO SECTION: Project management techniques 19. Deliverables: a. b. c. d.

Include WBSs, stakeholder management plans and resource analysis, but do not include the event itself.

Are the ultimate aims of particular projects and detail the specifics of what will be delivered to the client. In the case of event management, it is the event itself.

Are outcomes of work undertaken in particular areas of the project, that then feed into other project areas. In event management it includes the event itself.

Include tangible outcomes achieved over the course of the project. They do not include documents or files or other intangible process tools.

ANS: C. Are outcomes of work undertaken in particular areas of the project, that then feed into other project areas. In event management it includes the event itself.

FEEDBACK: Difficult.

REFER TO SECTION: Project management techniques 20. Total Quality Management (TQM): a. b. c. d.

Involves monitoring quality at every stage of producing an event Applies strict measures of success to every management system employed in each knowledge area.

Is not easily applied to events management, given the unquantifiable nature of many event objectives Integrates the practical aspects of controlling quality with the overall strategy and management of an event

ANS: D. Integrates the practical aspects of controlling quality with the overall strategy and management of an event © John Wiley & Sons Australia, Ltd 2010 6

Chapter 6: Project management for events

FEEDBACK: Moderate.

REFER TO SECTION: Project management techniques 21. The Payback Period refers to: a. b. c. d.

The period of time needed to pay all the costs of the event, and after which, the event begins to produce a surplus.

The time granted to service providers to settle their accounts Only those cost and benefits with real-dollar values The total measure of time where the event is generating revenue, at any stage of the project

ANS: A. The period of time needed to pay all the costs of the event, and after which, the event begins to produce a surplus.

FEEDBACK: Moderate.

REFER TO SECTION: Project management techniques 22. Return on Investment (ROI) is a financial measure a. b. c. d.

of the total revenues received during the course of the event of the total revenues received during the course of the project is a financial measure of the return to the event's key stakeholders of the total return relative to total costs

ANS: C. is a financial measure of the return to the event's key stakeholders FEEDBACK: Difficult.

REFER TO SECTION: Project management techniques 23. A PIER report: a. b. c. d.

Evaluates the success of the event Suggests areas for improvement in the event itself and in the management systems used Evaluates the effectiveness of the management systems and processes to demonstrate capability to prospective clients Is only used as a 'what-went-wrong' report, primarily for the benefit of stakeholders

ANS: B. Suggests areas for improvement in the event itself and in the management systems used FEEDBACK: Moderate.

REFER TO SECTION: Project evaluation 24. Which of the following is not included in event project evaluation? a. b. c. d.

Comparing planned timelines against actual performance Assessing the flexibility of the management system Determining if a project management approach is suitable for the given event Comparing planned milestones with the reality

ANS: C. Determining if a project management approach is suitable for the given event FEEDBACK: Moderate.

REFER TO SECTION: Project evaluation

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

25. Project management software is more likely to be employed in a conference or a seminar than in a music festival because: a. b. c. d.

Project management software is not suitable for events with a very large number of participants Project management software is less effective in complex, changing and uncertain environments The aims of a seminar are more easily quantifiable than the aims of a music festival Music festival management demands a greater focus on 'soft' rather than 'hard' skills

ANS: b. Project management software is less effective in complex, changing and uncertain environments FEEDBACK: Moderate.

REFER TO SECTION: Software & systems 26. The project management approach to events management is limited in its effectiveness because: a. b. c. d.

Events cannot be considered projects Traditional project management is unable to work with creative or 'soft' skills.

Traditional project management depends on a solid definition of the asset during the initiation phase and on a stable management environment.

It is not possible to define the 'success' of an event.

ANS: C. Traditional project management depends on a solid definition of the asset during the initiation phase and on a stable management environment.

FEEDBACK: Moderate.

REFER TO SECTION: Limitations of the project management approach to event management 27. Often, creativity or the 'wow' factor are central to the success of an event. This is why... a. b. c. d.

A project management approach should generally not be used in events management.

Major events of often employ both a creative director and a project manager.

The disciplines of project management and events management are diverging.

A project management software that allows for tabulating creative 'soft' skills should be employed.

ANS: B. Major events of often employ both a creative director and a project manager.

FEEDBACK: Difficult.

REFER TO SECTION: Limitations of the project management approach to event management 28. If the event utilises volunteers, this may limit the effectiveness of the project management approach because: a. b. c. d.

The work of volunteers is difficult to quantify Volunteers are generally unreliable data recorders Volunteers are a form of 'under-the-table' labour The volunteer coordinator works independently of the project manager

ANS: A. The work of volunteers is difficult to quantify FEEDBACK: Moderate.

REFER TO SECTION: Limitations of the project management approach to event management © John Wiley & Sons Australia, Ltd 2010 8

Chapter 6: Project management for events

29. Convergence describes the fact that: a. b. c. d.

Project management is moving towards event management, with a greater focus on 'soft' skills Event management is moving towards Project management, with a greater focus on 'hard' skills Event management theory and project management theory are becoming more and more similar.

Project management systems and software are moving towards a global standard.

ANS: C. Event management theory and project management theory are becoming more and more similar.

FEEDBACK: Moderate.

REFER TO SECTION: Convergence 30. Agile Project Management: a. b. c. d.

Stresses the human interaction involved in the project and the need for flexibility Creates smaller, more streamlined management teams Demands flexibility from the management team and requires them to be able to work in a variety of roles Was developed especially for smaller, more dynamic events

ANS: A. Stresses the human interaction involved in the project and the need for flexibility FEEDBACK: Moderate.

REFER TO SECTION: Convergence

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

SHORT ANSWER/ESSAY QUESTIONS 31. Are special events and festivals projects? What are three advantages of using project management for events?

Special events and festivals are projects because they are non-routine and occur at or over a specific period, are limited by time, budget and scope and produce an outcome designed to meet the client's need. O’Toole and Mikolaitis (2002, p. 23) describe the advantages of using project management for events: 1. It is a systematic approach that can be improved with every event. Project management describes the management system. Once something is described it can be improved. If it remains hidden there is nothing to improve.

2. It avoids the risk that the event’s success relies on one person. By having a system with documentation, filing and manuals, as well as clear communication and teams, the event is understood by anyone with the right experience.

3. It uses a common terminology and therefore facilitates clear, timely communication.

4. It ensures accountability to the stakeholders. Stakeholder management is a fundamental knowledge area of project management.

5. It makes the management of the event apparent. Too often the management is hidden by the importance of the event.

6. It helps train staff in a common system and provides a competency framework by which they can measure their level of expertise. This identifies gaps in their knowledge and skill and provides a pathway for improvement.

7. It is used in all other areas of management, not just events. Management methodology used for the event can be transferred to any project. Once the event is over, staff will have learned a useful, transferable skill.

8. It is common to other businesses. Many of the event stakeholders will already be familiar with the terminology.

FEEDBACK: Easy. Students only expected to describe 3 of the 8 advantages.

REFER TO SECTION: Project Management.

32. Over the Easter long weekend next year, a rural town wants to run a small-scale music festival. List and describe the phases of project management, using examples that might be included in this particular event The 5 phases of project management described in the text book are: Initiation, Implementation, Planning, Event and Shutdown (though the text book notes that other ways to possibly describe the phases of an event.)

There first phase is initiation. In this phase the objectives and the 'ideas' are described, such as the decision to put on a music festival, the choice of music, and deciding who the festival is for. A feasibility study may also be part of this phase.

The second phase is planning and this is characterised by working out what is needed and how it will fit together, for example putting together a management team for the festival and taking stock of resources.

The third phase is implementation and it involves executing the strategy developed in the planning stage. For example, organising the band line up, talking to sponsors. © John Wiley & Sons Australia, Ltd 2010 10

Chapter 6: Project management for events

The fourth phase is the event itself – in this case the two or three days of the music festival.

The final phase is the Shutdown, and involves for example, closing down the festival site, evaluating successes and planning for next year.

REFER TO SECTION: Phases of the project management of events

33. The event manager of triathlon does not have expertise in project management, but the Executive Board wants the event to be managed like a project. Broadly speaking, what options are available to the Executive Board?

There are three solutions to this problem: 1.

2.

3.

Expand the skill base of the event manager to include project management.

Reduce the responsibilities of the event manager and hire a project manager.

Train existing project managers in events management.

Each of these solutions is being undertaken for different events and festivals. Event managers are being trained in project management at a variety of courses around the world and project management is now a core subject in these courses, and this option could be considered by the Executive Board.

Solution 2 is often found in public events where the event management is split between the event director and the producer in charge of the creative aspects of the event, and the event project manager (who is in charge of the contracts, communication, compliance and other management areas). The event producer and event project manager have equal status in the organisation and report to the client. This option would 'buy in' the skills the executive board needs, while holding on to the experience of the current director.

Solution 3 is used for very large events such as the Olympics and Grand Prix and is less suitable in this case. In this case, the event is planned and controlled by the project management company, which hires an event director as a contractor. Their primary task is integration and contract management. Most of the areas, such as marketing and finance, would be outsourced.

REFER TO SECTION: Phases of the project management of events

34. What three areas of event management responsibility are often missing from the project management areas of responsibility?

The three areas of event management often missing from the project management areas of responsibility are the event concept creation, sponsorship development and marketing. In the more traditional application of project management, the finance of the project and the design of the asset are not in the domain of the project manager. In civil engineering, for example, the client will provide the finance and the architect will provide the asset design. A marketing or real estate company would be employed to market and sell the final product. However, in the case of festivals and events, the event manager is often actively involved in these areas.

REFER TO SECTION: Phases of the project management of events

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

35. What is a Gantt Chart? What does it do? What are the advantages of a Gantt Chart?

What problems are associated with Gantt Charts? How might Network Analysis overcome these?

The Gantt Chart is a scheduling tool. It is a simple bar chart that tracks the tasks involved in a project over the course of the project. The advantages of a Gantt chart are that it: • visually summarises the project or event schedule • is an effective communication and control tool (particularly with volunteers) • can point out problem areas or clashes of scheduling • is readily adaptable to all event areas • provides a summary of the history of the event However, assigning priorities to tasks is essential since the event must be delivered on time, and in a Gantt Chart, all of the listed tasks are given equal importance (or weight).

The network analysis tool was developed to overcome these problems. Network analysis uses circles to represent programmed events and arrows to illustrate the flow of activities, thus the precedence of programmed tasks is established and the diagram can be used to analyse a series of sub-tasks. The most efficient scheduling can be derived from the diagram; this is known as the critical path.

REFER TO SECTION: Project management techniques

36. You are an event organiser for a shopping district's street festival. The client wants you to double the number of roving performers, cut $1000 out of the budget, and still have the preparations finalised by this Friday. How might a Project Management Triangle help you explain to your client why his demands might be impossible?

The project management triangle is a model to assist decision making in the project environment.

As the project progresses, numerous decisions are made and contracts negotiated. There are three important constraints to be considered: time, cost and scope. The interdependence of these variables is such that their relationship is dynamic. Any change in one of these will affect one or both of the others. Many event decisions are a trade-off between the cost, time and scope. If, for example, the cost of an event is to be lowered, then the amount of time spent organising it will change and, possibly, the scope of the project will need to be readjusted. Likewise if the time for organising the event is extended then the scope of the event and/or the cost will change. The time variable includes the event duration as well as the time taken to organise it. The scope refers to the program of the event and the scope of work needed to deliver the event. The cost is both the cost of the event and the cost of the management of the event. These three variables also affect the quality of the event.

The client wants the event to be bigger and cheaper, but is not willing to allow any more time for completion. The Project Management Triangle could be used to highlight the inter-relatedness of these variables, and to explain how there must be cost associated with demanding more of any one aspect.

REFER TO SECTION: Project management techniques

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Chapter 6: Project management for events

37. You are working the event team of a racing carnival. The project manager has asked you to pull together the full set of deliverables so she can take stock of where the project is at.

You already have the WBS, the task responsibility chart and the schedule in the form of a Gantt chart. Describe the other deliverables that might be required?

Deliverables are the proof that work is being done. The WBS is a deliverable of the planning scope, the task responsibility chart is a result of analysing all the tasks that needed to be completed and assigning them to relevant people, and the Gantt chart is the result of the scheduling process. Other deliverables might include; • checklists, if the event manager is uses them • a resource analysis – listing all the resources required and the contracts needed • A financial plan and budget – the output of the financial planning process • a stakeholder management plan – including a sponsorship plan a the promotion plan, and any other communication plans • a risk management plan – possible a risk register and a procedure for updating the register The deliverables might also include an event manual, bringing together any other documents involved in running the carnival.

REFER TO SECTION: Project management techniques

38. Explain in broad terms what is involved in the formal process of project control. You are part of a 5 person crew working on a low-budget short film, in a remote location. One of your team has suggested using formal processes of control. Do you agree?

A: The formal process of control involves establishing standards of performance and ensuring that they are realised. This can be a complex process, but consists of three main steps: 1. establishing standards of performance — these can come from several sources, including standard practices within the event management industry; guidelines supplied by the board of management of the event; specific requirements of the client and sponsors; and audience or guest expectations. Standards must be measurable.

2. identifying deviations from standards of performance — this is done by measuring current performance and comparing it with the established standards. Since the event budget is expressed in measurable terms, it provides an important method of highlighting areas that are straying from the plan and that require attention.

3. correcting deviations — any performance that does not meet the established standards must be corrected. This can entail the use of many types of problem-solving strategies, including renegotiating contracts and delegating.

In terms of the film set, the personnel involved may be small enough in number, and the task simple enough in management that it might not be necessary to commission reports, hold meetings or employ any other formal methods of control. There are numerous informal methods of control such as, “managing by walking around” or creating a conducive team atmosphere, that might ensure that any gaps are brought to the attention of senior management. On a small film set, this may be sufficient.

REFER TO SECTION: Project management techniques

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

39. You are scheduling the event for the inaugural home and garden show in the botanic gardens. It has been suggested that a time for project evaluation should be included.

Explain what project evaluation is and whether it would be useful for your team to include.

Event project evaluation includes: • comparing the task descriptions and planned timelines with their actual performance • assessing the ability of the system to respond to change; that is, its flexibility • evaluating the timeliness of reports • assessing the effectiveness of management decisions • comparing planned milestones with the reality Each of these areas should indicate a fault or success in the management system. This feedback system can be used for each event to improve the management of the events. Since this is the first time the home and garden show is being run, there are likely to be just as many lessons to learn in the management of the event as there are in about the event itself. Therefore it is likely to be very useful.

REFER TO SECTION: Project evaluation

40. A major theatre festival has this year decided to employ an artistic director, as well as an event manager. Why? What does this say about the project management approach to event management?

The success of an event often depends on the 'wow factor', the surprise, the vibe, or the theatre of events — essentially what makes the event ‘special’. A traditional project management approach depends on a solid definition of the asset during the initiation phase and on a stable management environment. All the management tasks can then be measured against the defined asset. Festivals and special events are not as clearly defined. Often they become more defined as the management of the project progresses, new marketing information comes to hand, and new promotion ideas and programming openings arise. A large part of event managing is taking advantage of new opportunities, which can mean that events can radically change, right up until the morning of the event. Project management, therefore, has to be flexible. Increased documentation, plans, written procedures and rules can easily lead to a management inertia unsuitable to the event industry.

Employing both an event manager who will take care of the process side of things and a creative director who will manage the creative side of the event is a way of getting around this problem.

REFER TO SECTION: Limitations of the project management approach to event management

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Chapter 6: Project management for events

41. Outline four factors that might limit the effectiveness of a Project Management Approach to Event Management.

The following factors limit the usefulness of a project management approach. Students could describe any four.

• using volunteers — the work of the volunteers is difficult to quantify and yet, they are vital to the success of many festivals. To measure key success factors is an imperative task in a traditional project management system.

• stakeholders number — more stakeholders mean more objectives the event has to meet.

Given that some stakeholders will change during the lead-up to the event, there is more uncertainty in these objectives. This leads to a fluid management environment, with the event company continually keeping an eye on any change to the stakeholders. When this is combined with the intangible outcomes of an event, clearly defining stakeholder requirements can be almost impossible. In one sense, each individual audience member may have an array of expectations.

• marketing — the ability to respond to market changes is a fundamental principle of marketing. This is in opposition to a management system that relies on the definition of the deliverable to stay the same. In project management, thinking about marketing can be regarded as a risk management strategy. The aim of marketing from this point of view is to increase the predictability of management. Using marketing tools such as consumer decision profiling, marketing segmentation, promotion and optimising the market mix can reduce uncertainty.

• finance — finance may be found right up to the day of the event, during the event and after it is over. Extra sponsors may ‘come on board’, more tickets may be sold, or, for example, the auction may be a great success. This is another area of uncertainty that makes project planning difficult. Most project management theory assumes a fixed and defined source of funds and therefore tends to concentrate on the control of costs.

• event design — many events are supposed to have a large element of surprise, called the ‘wow factor’. This is not an easy element to quantify or describe. At many events and festivals the right ‘wow’ can be the difference between success and failure. Traditional project management depends on the asset or deliverable being defined during the initiation phase. The surprise aspect of the event is often difficult, if not impossible, to describe.

• infrastructure and resources — usually of a temporary nature. Events and festivals can have notoriously short timelines. Other projects may take years to complete, whereas the event project may be over in a month. Short-term logistics, temporary structures and short-term contracts do not allow the luxury of detailed analysis that is recommended by many project management books. Overall, the event management is under the cloud of the deadline.

Every aspect of the management, therefore, must be continually assessed according to its effect on the deadline.

• creativity — a core element of many events is the creativity of the event team. Special events, in particular, require creative thinking. Some event directors see project management as being at odds with creativity. A system can easily become an end unto itself. It can overpower the artistic basis of an event. Unless these formal tools and techniques are regarded as a support system for the event, they may make the creativity disappear. It is a risk and must be understood by anyone creating and • developing an event.

REFER TO SECTION: Limitations of the project management approach to event management

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Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 7: Financial Management and Events MULTIPLE CHOICE 1.

Financial management is defined as decisions that concern:

a. b. c. d.

The sourcing of money resources The planning and allocation of money resources The monitoring and evaluation of the uses of money resources All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Introduction 2.

Financial mismanagement may:

a. b. c. d.

Create operational risks for the event, such as safety, crowd control and legal problems Lead to breaches of tax or common law obligations Lead the client to request an audit of the event manager's books All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Introduction 3.

Financial management begins:

a. b. c. d.

When deciding on the feasibility of the event in the initiation phase When deciding on the details of the event, during the planning phase When everything is being put in place, during the implementation phase When the event planning is being executed, during the event

ANS: A. When deciding on the feasibility of the event in the initiation phase FEEDBACK: Moderate.

REFER TO SECTION: Forecasting Finance and ROI 4.

The Return on Investment (ROI)

a. b. c. d.

Is a measure of the financial return for the investment in the event Is more sensibly applied to larger events Gives all stakeholders a common point of reference All of the above

ANS: A. Is a measure of the financial return for the investment in the event FEEDBACK: Moderate.

REFER TO SECTION: Forecasting Finance and ROI © John Wiley & Sons Australia, Ltd 2010 2

Chapter 7: Financial management and events

5.

When considering the Return on Investment (ROI) the trend to express all returns in dollar values:

a. b. c. d.

Attempts to provide a way to compare events with other investment projects Attempts to focus attention on present rather than future benefits Attempts to discount the importance of more abstract measures of success All of the above

ANS: A. Attempts to provide a way to compare events with other investment projects FEEDBACK: Moderate.

REFER TO SECTION: Forecasting Finance and ROI 6.

The budget process:

a. b. c. d.

Costs expenses and estimates income Allocates financial resources Compares projected with actual costs and revenues All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Budget 7.

The first step in the budget process is to:

a. b. c. d.

Prepare a draft budget for committee and sponsor approval Establish an understanding of the economic environment Identify and estimate cost areas and revenue sources Establish appropriate budget guideline for the event's objectives

ANS: B. Establish an understanding of the economic environment FEEDBACK: Easy.

REFER TO SECTION: The Budget 8.

The budget should:

a.

Be prepared with an awareness of how much time its preparation and execution will cost the organisation Be driven by management, in order to provide leadership to the staff working within the budgets constraints Be followed strictly by all staff in order to provide stability in changing conditions All of the above

b. c. d.

ANS: A. Be prepared with an awareness of how much time its preparation and execution will cost the organisation FEEDBACK: Moderate.

REFER TO SECTION: The Budget

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Testbank to accompany Festival and Special Event Management by Allen et al.

9.

In the break-even chart fixed costs:

a. b. c. d.

Represent cost incurred in running the event that increase as more people attend the event Represent costs incurred regardless of whether the event is run or not Represent costs incurred in running the event, regardless of how many people attend All of the above

ANS: C. Represent costs incurred in running the event, regardless of how many people attend FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios 10. In the break-even chart variable costs: a. b. c. d.

Represent cost incurred in running the event that increase as more people attend the event Represent costs incurred regardless of whether the event is run or not Represent cost incurred in running the event, regardless of how many people attend All of the above

ANS: A. Represent cost incurred in running the event that increase as more people attend the event FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios 11. When constructing a break-even chart, an example of a fixed cost is: a. b. c. d.

Food and drink Lighting hire Event security All of the above

ANS: B. Lighting hire FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios 12. When constructing a break-even chart, an example of a variable cost is: a. b. c. d.

Venue hire Event administration Seating hire All of the above

ANS: C. Seating hire FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios

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Chapter 7: Financial management and events

13. On a break-even chart, the break-even point is where: a. b. c. d.

The costs associated with additional attendees exceeds the revenue from ticket sales The revenue from ticket sales begins to exceed total (fixed and variable) costs The revenue from ticket sales begins to exceed fixed costs All of the above

ANS: B. The revenue from ticket sales begins to exceed total (fixed and variable) costs FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios 14. The event break-even chart shows that, if there is an increase in a fixed cost, such as promotions: a. b. c. d.

The total cost of the event is affected A greater number of tickets must be sold in order to break-even More tickets must be sold, if the event deadlines cannot be changed All of the above

ANS: D. All of the above FEEDBACK: Difficult.

REFER TO SECTION: Control and Financial Ratios 15. Financial ratio analysis can be used to: a. b. c. d.

Identify any problems in the financial management of the event Predict problems in the event preparations Indicate the health of the event organisation All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios 16. A financial ratio that indicates an event's fundraising effectiveness is: a. b. c. d.

Current assets / Current liabilities Net Revenue / Investment Net Profit / Gross Profit Perceived value / Cost pax

ANS: C. Net Profit / Gross Profit FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios

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Testbank to accompany Festival and Special Event Management by Allen et al.

17. A financial ratio that indicates an event's Return on Investment is: a. b. c. d.

Current assets / Current liabilities Net Revenue / Investment Net Profit / Gross Profit Perceived value / Cost pax

ANS: B. Net Revenue / Investment FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios 18. A financial ratio that indicates the financial strength of the event organisation is: a. b. c. d.

Current assets / Current liabilities Net Revenue / Investment Net Profit / Gross Profit Perceived value / Cost pax

ANS: A. Current assets / Current liabilities FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios 19. A financial ratio that can be used as a measure of the event's value for money is: a. b. c. d.

Current assets / Current liabilities Free publicity / Paid advertising Net Profit / Gross Profit Perceived value / Cost pax

ANS: D. Perceived value / Cost pax FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios 20. A financial ratio that can be used to measure the effectiveness of the event's promotions is: a. b. c. d.

Current assets / Current liabilities Free publicity / Paid advertising Net Profit / Gross Profit Perceived value / Cost pax

ANS: B. Free publicity / Paid advertising FEEDBACK: Moderate.

REFER TO SECTION: Control and Financial Ratios

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Chapter 7: Financial management and events

21. In the costing process, overheads refer to: a. b. c. d.

Costs associated specifically with the running of the event Costs that are incurred regardless of the number of people who attend the event Costs associated with the running of the event company All of the above

ANS: C. Costs associated with the running of the event company FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating 22. In the costing process, direct costs refer to: a. b. c. d.

Costs associated specifically with the running of the event Costs that are incurred regardless of the number of people who attend the event Costs associated with the running of the event company All of the above

ANS: A. Costs associated specifically with the running of the event FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating 23. In the costing process, the counterpart of direct costs are: a. b. c. d.

Fixed costs Overheads Variable costs Indirect costs

ANS: B. Overheads FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating 24. In the costing process, the technique of letting management come up with a figure based on their experience and comparisons to similar events is known as: a. b. c. d.

Bottom-up estimating Top-down estimating Parametric estimating Value-based estimating

ANS: B. Top-down estimating FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating

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Testbank to accompany Festival and Special Event Management by Allen et al.

25. In the costing process, the technique of dividing the event into its component parts and estimating costs for each component is known as: a. b. c. d.

Bottom-up estimating Top-down estimating Parametric estimating Value-based estimating

ANS: A. Bottom-up estimating FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating 26. In the costing process, the technique that estimates 'cost per person' or 'cost per square metre' for example, is known as: a. b. c. d.

Bottom-up estimating Top-down estimating Parametric estimating Value-based estimating

ANS: C. Parametric estimating FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating 27. Many budgets include a contingency of something like: a. b. c. d.

2-3 percent 10-15 percent 40-50 percent 100-150 percent

ANS: B. 10-15 percent FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating 28. Which of the following is not a method for determining ticket prices? a. b. c. d.

Covering costs Market demand Perceived value Priority cost centres

ANS: D. Priority cost centres FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating

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Chapter 7: Financial management and events

29. Sponsorship leverage refers to the act of: a. b. c. d.

Using the backing of one sponsor to 'bid-up' the support of other sponsors Using the backing of one sponsor to establish credibility with other sponsors Using the backing of one sponsor to market the event All of the above

ANS: B. Using the backing of one sponsor to establish credibility with other sponsors FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating 30. A commitment account: a. b. c. d.

Allows event managers to account for transactions over the short term or 'on-the-run' Includes many transactions that traditional accounting methods don't pick up in the short run Keeps track of transactions that have been committed to, but not finalised All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Costing and Estimating

© John Wiley & Sons Australia, Ltd 2010 9

Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY QUESTIONS 31. What two types of budgets are used in events?

Two types of budget process can be used in event management. The line-item budget, as the name suggests, focuses on each cost and revenue item of the total event. The program budget is constructed for a specific program element. An example of the latter is a budget devised for a festival that concerns only the activities of one of the performance areas or stages. Such a budget effectively isolates this area of the event from the general festival finance. In this way, individual budgets can be used to compare all the performance areas or stages. The line items are performers’ fees and so on.

REFER TO SECTION: The Budget 32. What are the stages involved in constructing a budget?

The process of constructing a budget begins by establishing the economic environment of the event.

The economics of the region and the nation (and even world economics) may impinge on the event and significantly change the budget. An example of this is the effect of the global financial crisis on the availability of funding and sponsorship.

The next step is to obtain the guidelines from the client, sponsors or event committee. A client may request, for instance, that only a certain percentage of their sponsorship be allocated to entertainment, with the rest to be allocated to hospitality. Guidelines must fit with the overall objectives of the event and may require constructing sub-budgets or program budgets. This is both an instructive phase — in that the committee, for example, will instruct the event manager on the content of the budget — and a consultative phase , because the event manager would ask the advice of other event specialists and the subcontractors.

The third step is to identify, categorise and estimate the cost areas and revenue sources. The categories become the line items in the budget. Once the costs and possible revenue sources and amounts are estimated, a draft budget is prepared and submitted for approval to the controlling committee. This may be, for example, the finance sub-committee of a large festival. The draft budget is also used in grant submissions and sponsorships.

The final step involves preparation of the budget and financial ratios that can indicate deviations from the initial plan. An operating business has a variety of budgets, including capital expenditure, sales, overheads and production. Most special events will require only an operations budget or cash budget.

REFER TO SECTION: The Budget

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Chapter 7: Financial management and events

33. When constructing the budget process, why is it important to establish the economic environment? What kind of questions might be asked?

The process of constructing a budget begins by establishing the economic environment of the event.

The economics of the region and the nation (and even world economics) may impinge on the event and significantly change the budget. An example of this is the effect of the global financial crisis on the availability of funding and sponsorship. The initial response of many companies was to cut their promotion and sponsorship budgets. The immediate result of this was the downsizing of many events and the cancellation of others.

To determine the economic environment for a proposed event, it is useful to ask the following questions: • What similar events can be used as a model for the proposed event and its environment?

• Will changes in the local or state economy affect the budget in any way?

• If the event is to involve international performers or hiring equipment from overseas, • will there be a change in the currency exchange rates?

• How exposed is the event to changes in world tourism patterns?

These questions underline the importance of understanding the event’s target market. If a significant part of the event’s finances depend on income from foreign visitors, an international crisis, such as swine flu or terrorism, will change the financial equation. These and many more questions need to be answered before constructing a budget that will result in reasonable projections of costs and revenue.

REFER TO SECTION: The Budget

34. What are the limitations associated with using a budget in events?

A major problem associated with a budget, particularly for special events, may involve blind adherence to it. It is a tool of control and not an end in itself. The elegance of a well laid-out budget and its mathematical certainty can obscure the fact that it should be a slave to the event objectives, not their master. A budget is based on reasonable projections made within an economic framework.

Small changes in the framework can cause large changes in the event’s finances. For instance, extra sponsorship may be found if the right products are added to the event portfolio. A complicated, highly detailed budget may consume far more time than is necessary to make the event a success.

However, this may be required by the client and the time and cost to create such a budget needs to be factored into the overall project plan.

Time is a crucial factor in special event management. Keeping rigidly within budgetary standards can take up too much time and energy of the event management, thus limiting time available for other areas.

Finally, a budget that is constructed by the event management may be imposed on staff without adequate consultation. This can lead to losing valuable specialist staff if they find themselves having to work to unreasonable budgetary standards. In particular, an innovative event requires the creative input of all the staff and subcontractors. At these events, informal financial control using a draft budget is often far more conducive to quality work than strict budgetary control. © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management by Allen et al.

It needs to be remembered that a budget is only an approximation of reality, it is a plan for what should be done, and not reality itself. It will need to be adjusted as the event changes and new information comes to hand. However, it is a vital part of the financial management of events.

REFER TO SECTION: The Budget

35. How can the budget be used as a control mechanism?

The budget is a control mechanism as it enables the event management to identify when the organising of the event is drifting away from the forecast. Specifically, the process of control involves the following steps: • Establishing standards of performance: this is the budget itself, indicator ratios, success factors and milestones.

• Identifying deviations from standards of performance by comparing the budget to the actual spend. Often this can be difficult as the spend can be spread over time. Therefore the ratios and milestones become important as a method to indicate if there are problems.

• Correcting deviations — this may involve cutting costs, finding more money or shifting resources.

REFER TO SECTION: Control and Financial Ratios

36. List 5 strategies that can be used to obtain the best terms from a supplier?

Goldblatt (2005) suggests the following strategies in order to obtain the best terms form a supplier: • Learn as much as possible about the suppliers and subcontractors and the nature of their business. Do they own the equipment? What are the normal payment terms in their business? Artists, for instance, expect to be paid immediately, whereas some information technology suppliers will wait for 60 days.

• Be flexible with what can be offered in exchange — including sponsorship.

• Try to negotiate a contract that stipulates a small deposit before the event and full payment after it is over.

• Suggest a line of credit, with payment at a set time in the future.

• Closely control the purchasing.

• Ensure all purchases are made through a purchase order that is authorised by the event manager or the appropriate finance personnel. A purchase order is a written record of the agreement to supply a product at a pre-arranged price. All suppliers, contractors and event staff should be informed that no purchase can be made without an authorised form. This ensures spending is confined to what is permitted by the budget.

• Obtain a full description of the product or service and the quantities required.

• Itemise the price to a per unit cost.

• Calculate any taxes or extra charges.

• Determine payment terms.

• Clarify delivery details.

• Consider imposing penalties if the product or service delivered is not as described.

REFER TO SECTION: Control and Financial Ratios (Note that students are not expected to list every strategy, only five.) © John Wiley & Sons Australia, Ltd 2010 12

Chapter 7: Financial management and events

37. How might an event reduce its costs? Describe 3 examples.

With careful and imaginative planning, costs can be reduced in a number of areas.

• Publicity . An innovative event may need a large publicity budget that is based on revenue from ticket sales. The event manager’s aim should be to reduce this wherever possible.

Established festivals may need very little publicity as word of mouth will do all the necessary work. The annual Woodford Folk Festival, with a budget of $2.3 million, spends very little on publicity because it has built up a strong reputation with its target audience.

The more innovative the event, the greater the possibility for free publicity. The Tropfest, the world’s largest short film festival, for example, gains enormous free publicity as it attracts film stars to the event. A major art event used a problem as a promotion. In this event, the sculptures were placed along a free public-accessed park. The event organisers found that, occasionally, sculptures were placed on the site without going through the normal process of selection. The event organisers used this to their advantage by staging a sculpture being secreted in the exhibition and having a press photographer take photos of the ‘illegal’ action. The next day the photo gained a half page in the newspaper, thereby indirectly promoting the exhibition.

• Equipment and supplies . Suppliers of products to events have down times during the year when their products may be hired cheaply. In particular, theatrical productions at the end of their run are a ready source of decoration and scenery. Annual events like the Sydney Gay and Lesbian Mardi Gras often have equipment in storage that can be hired.

• In-kind gifts . Many organisations will assist events to achieve cross-promotional advantages. Entertainment can be inexpensive if there is a chance that an organisation can promote a performance or product at the event. For instance, a boutique wine company agreed to supply their wine freely to the pre-event party for the media and friends, in exchange for the rights to sell their product at the concert.

• Hiring charges . The hire costs of large infrastructure components, such as tents, generators and headline acts, can be reduced by offering work at other festivals and events. The large cultural festivals around Australia, for example, including the Melbourne International Festival and the Adelaide Festival of the Arts, can offer a festival circuit to any overseas performer. Costs are amortised over all the festivals.

• Prioritise cost centres . At some time it will be necessary to cut costs. You will need to anticipate the effect on the overall event if one area is significantly changed or eliminated.

Estimates are made of the influence of cost changes on the event and the cost centres are placed in a priority list according to the significance of the effect. A sensitivity analysis, for example, could be applied to the effect of imposing a charge on a program that was previously free. While this could significantly increase revenue, it may produce a negative effect in sponsorship and audience satisfaction, which may well be translated into the reduction of revenue.

• Volunteers . Costs can be reduced by using volunteers instead of paid staff. It is important that all of the skills of the volunteers are fully utilised. These skills should be continually under review as new skills may be required as the event planning progresses. For charitable functions, volunteers will often absorb many of the costs as tax deductible donations.

REFER TO SECTION: Control and Financial Ratios (Note that students are not expected to outline each strategy, only 3)

© John Wiley & Sons Australia, Ltd 2010 13

Testbank to accompany Festival and Special Event Management by Allen et al.

38. Where do events source their funds from?

Event revenue can come from the following sources: • Ticket sales — most common in entrepreneurial events • Sponsorship — common in cultural and sports events • Merchandising • Advertising • ‘In-kind’ arrangements • Broadcast rights — an increasingly important source of revenue in sport events • Grants — federal, state and local government • Fundraising — common in community events • The client — the major source for corporate events.

REFER TO SECTION: Control and Financial Ratios 39. How might events increase their projected income? Describe 3 strategies.

Potential strategies for increasing projected income include: Ticket scaling There are many ticketing strategies that strive to obtain the best value from ticket sales. The most common strategy is to vary the pricing, according to seat position, number of tickets sold and time of sale. Early-bird discounts and subscriptions series are two examples of the latter. Another strategy involves creating a special category of attendees. This could include patrons, special clubs, ‘friends of the event’, people for whom the theme of the event has a special meaning or those who have attended many similar events in the past. For a higher ticket price, for example, patrons are offered extra hospitality, such as a separate viewing area, valet parking and a cocktail party.

In-kind support and bartering One way to increase income is to scrutinise the event cost centres for areas that could be covered by an exchange with the supplier or bartering. The advertising can be expanded for an event, for example, with a program of ‘give-aways’. These are free tickets to the event given away through the press. Due to the amount of goodwill surrounding a fundraising event, bartering should be explored as a method of obtaining supplies. Bartering may have significant tax implications. It should not be undertaken without close scrutiny of this risk.

Merchandising The staging of an event offers many opportunities for merchandising. The first consideration is ‘Does the sale of goods enhance the theme of the event?’. The problems of cash flow at an event, as stated earlier in this chapter, can give the sale of goods an unrealistically high priority in event management. It is easy to cheapen a boutique special event with the sale of trinkets. However, the attendees may want to buy a souvenir.

Broadcast rights An increasingly important source of revenue, particularly in sports events, is the payment for the right to broadcast. A live television broadcast of an event is a lucrative area for potential income — but it comes at a price. The broadcast and its requirements become master of the event, rather than the needs and expectations of the live audience. Future broadcasting rights, web-casting and podcasting could also be sources of income. © John Wiley & Sons Australia, Ltd 2010 14

Chapter 7: Financial management and events

Sponsorship leverage and activation Leverage is the current term for using event sponsorship to gain further support from other sponsors. Very few companies or organisations want to be the first to sponsor a one-off event.

However, once the event has one sponsor’s support, sufficient credibility is gained to enable an approach to other sponsors. Gaining the support of a major newspaper or radio station, for example, allows the event manager to approach other sponsors. The sponsors realise that they can obtain free publicity. Activation refers to adding to the sponsor’s benefits through extra services and innovative ideas. Innovation can create a deeper involvement by the sponsor in the event.

Special features When an event is linked to a large population base, there are many opportunities for generating income. Raffles, for example, are frequently used to raise income.

REFER TO SECTION: Control and Financial Ratios (Note that students are not expected to outline each strategy, only 3)

40. What guidelines might be followed to produce a straightforward financial report?

A list of guidelines to produce a straightforward financial report should include: • The report should relate directly to the event management area to which it is addressed.

• It should not contain extraneous information that can only obscure its function. Brevity and clarity are key objectives.

• The figures in the report must be of the same magnitude and they should be comparable.

• The report should describe how to take remedial action if there is a significant problem.

REFER TO SECTION: Control and Financial Ratios

© John Wiley & Sons Australia, Ltd 2010 15

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management 5e by Allen et al

Chapter 8: Human Resource Management and Events MULTIPLE CHOICE 1.

Event organisations often have a 'pulsating' organisational structure. This means that, in terms of personnel:

a. b. c. d.

Staffing levels, particularly that of volunteers can fluctuate unpredictably They can grow quickly as the event approaches can contract quickly when it ends The ratio of managers to staff can shift significantly over the course of a single event All of the above

ANS: B. They can grow quickly as the event approaches can contract quickly when it ends FEEDBACK: Easy.

REFER TO SECTION: Considerations Associated with HR Planning for Events 2.

Event organisations often have a 'pulsating' organisational structure. The challenge this presents to the HR manager is:

a. b.

In obtaining paid staff given the short-term nature of the employment offered In working to short timelines to hire and train staff, and the attrition rates associated with the pressure of working to tight timelines In shedding staff quickly once the event is over All of the above

c. d.

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Considerations Associated with HR Planning for Events 3.

Something that defines a job in terms of specific tasks and responsibilities and identifies the skills and qualifications needed to perform that job successfully is called a:

a. b. c. d.

Job description Job specification Job analysis All of the above

ANS: C. Job analysis FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events

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Chapter 8: Human resource management and events

4.

A statement that identifies why a job has come into existence, what the holder of the job will do, and under what conditions the job is to be conducted is called a:

a. b. c. d.

Job description Job specification Job analysis All of the above

ANS: A. Job description FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events 5.

A statement that identifies the experience, qualifications, skills, abilities, knowledge and personal characteristics needed to perform a give job is called a:

a. b. c. d.

Job description Job specification Job analysis All of the above

ANS: B. Job specification FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events 6.

Which of the following is true?

a.

A job description is derived from the job specification, which in turn is an outcome of the job analysis A job specification is derived from the job description, which in turn is an outcome of the job analysis A job analysis is derived from the job description, which in turn is an outcome of the job specification All of the above

b. c. d.

ANS: B. A job specification is derived from the job description, which in turn is an outcome of the job analysis FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events 7.

Which of the following is not a function of policies and procedures in a HR planning process?

a. b. c. d.

To reassure all staff that they will be treated fairly To remove the need for trained, experienced and expensive staff in the HR functions To help managers make quick and consistent decisions To give managers confidence to resolve problems and defend their positions

ANS: B. To remove the need for trained, experienced and expensive staff in the HR functions FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events © John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management 5e by Allen et al

8.

The process of concentric circle recruiting refers to:

a.

Starting with a broad search, and step by step narrowing down the search for the ideal employee Placing the organisation at the centre of prospective employees' areas of interest Using stakeholders to communicate the event's staffing needs All of the above

b. c. d.

ANS: C. Using stakeholders to communicate the event's staffing needs FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events 9.

During the recruitment process, consulting references or peer group ratings are ways of determining an applicant's suitability:

a. b. c. d.

Based on past behaviour Based on present behaviour Based on predictions of future behaviour All of the above

ANS: A. Based on past behaviour FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events 10. During the recruitment process, examining portfolios is a way of determining an applicant's suitability: a. b. c. d.

Based on past behaviour Based on present behaviour Based on predictions of future behaviour All of the above

ANS: B. Based on present behaviour FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events 11. During the recruitment process, observing the applicant in simulations of work situations is a way of determining an applicant's suitability: a. b. c. d.

Based on past behaviour Based on present behaviour Based on predictions of future behaviour All of the above

ANS: C. Based on predictions of future behaviour FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events

© John Wiley & Sons Australia, Ltd 2010 4

Chapter 8: Human resource management and events

12. The induction process: a. b. c. d.

Discusses the job description with the individual Introduces the organisational culture, history and working arrangements “Bonds: the individual to the organisation All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events 13. Which of the following is not a method for identifying what training is required to successfully deliver an event? a. b. c. d.

Performance appraisals of existing staff / volunteers Stakeholder feedback surveys Analysis of job requirements A survey of personnel

ANS: B. Stakeholder feedback surveys FEEDBACK: Difficult.

REFER TO SECTION: The HR Planning Process for Events 14. In Human Resource Management, performance appraisals: a. b. c. d.

Evaluate the performance of the event overall and establish plans for improvement through more efficient use of staff Evaluate the performance of current HR systems and establish plans for improvement Evaluate staff performance and establish plans for improvement All of the above

ANS: C. Evaluate staff performance and establish plans for improvement FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events 15. The dismissal of employees: a. b. c. d.

Is at the discretion of businesses, which have an inalienable right to manage Is governed by codes of practice, which can differ from industry to industry Is governed by State and Federal laws relating to unfair and unlawful dismissal All of the above

ANS: C. Is governed by State and Federal laws relating to unfair and unlawful dismissal FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events

© John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management 5e by Allen et al

16. The process of outplacement refers to: a. b. c. d.

Assisting employees to find other employment with another organisation Assisting employees to find different employment within the same organisation Placing employees in other organisations for a limited time for the purpose of training and professional development Placing employees covertly into other organisations for a limited time for the purpose of disrupting their operations

ANS: B. Assisting employees to find different employment within the same organisation FEEDBACK: Moderate.

REFER TO SECTION: The HR Planning Process for Events 17. When considering the motivations of volunteers, studies suggest that: a. b. c. d.

Altruism is clearly and explicitly the most important motivation Volunteers will nominate a number of personal motivations if asked, but altruism is likely to lie at the heart of these motivations Altruism may be stated as a motivation, but there are likely to be a range of personal motivations at play Altruism rarely factors into the mix

ANS: C. Altruism may be stated as a motivation, but there are likely to be a range of personal motivations at play FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 18. When considering the motivations of staff and volunteers, content theories: a. b. c. d.

Consider people's needs and their strategies for satisfying these needs Seek to explain why people choose the strategies they do to satisfy their needs Seek to explain where people's needs come from All of the above

ANS: A. Consider people's needs and their strategies for satisfying these needs FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 19. When considering the motivations of staff and volunteers, process theories: a. b. c. d.

Consider people's needs and their strategies for satisfying these needs Seek to explain why people choose the strategies they do to satisfy their needs Seek to explain where people's needs come from All of the above

ANS: B. Seek to explain why people choose the strategies they do to satisfy their needs FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers

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Chapter 8: Human resource management and events

20. According to Maslow's hierarchy of needs, the need for stability in our interpersonal relationships would be classified as a: a. b. c. d.

Safety need Physiological need Social need Self-actualisation need

ANS: A. Safety need FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 21. According to Maslow's hierarchy of needs, the need for love and affection would be classified as a: a. b. c. d.

Safety need Physiological need Social need Esteem need

ANS: C. Social need FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 22. According to Maslow's hierarchy of needs, the need for air and water would be classified as a: a. b. c. d.

Safety need Physiological need Social need Esteem need

ANS: B. Physiological need FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 23. According to Maslow's hierarchy of needs, the need to fulfil your creative potential would be classified as a: a. b. c. d.

Safety need Social need Self-actualisation need Esteem need

ANS: C. Self-actualisation need FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers

© John Wiley & Sons Australia, Ltd 2010 7

Testbank to accompany Festival and Special Event Management 5e by Allen et al

24. According to Maslow's hierarchy of needs, the need for respect and recognition would be classified as a: a. b. c. d.

Safety need Social need Self-actualisation need Esteem need

ANS: D. Esteem need FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 25. Which of the following correctly lists the types of needs detailed in Maslow's hierarchy of needs, in order from lowest to highest: a. b. c. d.

Safety, Physiological, Social, Esteem, Self-actualisation Physiological, Safety, Esteem, Social, Self-actualisation Physiological, Safety, Social, Self-actualisation, Esteem Physiological, Safety, Social, Esteem, Self-actualisation

ANS: D. Physiological, Safety, Social, Esteem, Self-actualisation FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 26. In essence, Maslow's hierarchy of needs proposes that: a. b. c. d.

People are not motivated to satisfy lower order needs until their higher order needs are met People are not motivated to satisfy higher order needs until their lower order needs are met People are willing to sacrifice a lower order need so that a higher order need might be satisfied People are only truly motivated by higher order needs

ANS: B. People are not motivated to satisfy higher order needs until their lower order needs are met FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 27. According to Herzberg's theory, a content theory of staff motivation, managers can motivate staff by: a. b. c. d.

Improving the workplace fundamentals such as salary and the work environment Creating systems that empower staff and recognise achievement Implement systems that ensure that employee's lower order needs are satisfied All of the above

ANS: B. Creating systems that empower staff and recognise achievement FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers © John Wiley & Sons Australia, Ltd 2010 8

Chapter 8: Human resource management and events

28. Adams's equity theory of employee motivation is based on the idea that employee motivation: a. b. c. d.

Is tied to the idea that the perceived value of input must be equal to the perceived value of the rewards Is anchored in the idea that seniority and length of tenure is equal to access to rewards Is tied to perceived discrepancies in their efforts and rewards, relative to others in the organisation All of the above

ANS: C. Is tied to perceived discrepancies in their efforts and rewards, relative to others in the organisation FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 29. One of the implications of Vroom's expectancy theory of employee motivation is that: a. b. c. d.

Motivation is tied to the rewards associated with an action exceeding employee expectations There needs to be a “clear payoff” associated with an action if an employee is to be motivated Employees need monetary incentives to do more than what is expected of them All of the above

ANS: B. There needs to be a clear payoff associated with an action if an employee is to be motivated FEEDBACK: Moderate.

REFER TO SECTION: Motivating Staff and Volunteers 30. An event organisation's relationship with its employees: a. b. c. d.

Is freely determined by the organisation itself Is subject to the same laws and statues as any business Is exempt from the laws and statues from that govern other businesses, given the specific nature of events Is exempt from the laws and statues from that govern other businesses, unless the event is run for profit

ANS: B. Is subject to the same laws and statues as any business FEEDBACK: Moderate.

REFER TO SECTION: Legal Obligations

© John Wiley & Sons Australia, Ltd 2010 9

Testbank to accompany Festival and Special Event Management 5e by Allen et al

SHORT ANSWER/ESSAY QUESTIONS 31. Why is Human Resource planning for events unique? What challenges does it present?

The context in which human resource planning takes place for events can be said to be unique for two major reasons. First, and perhaps most significantly, many events have a ‘pulsating’ organisational structure. This means they grow rapidly in terms of personnel as an event approaches and contract even more quickly when it ends.

From a human resource perspective this creates a number of potential challenges.

These include: • Obtaining paid staff given the short-term nature of the employment offered • Working to short timelines to hire and train staff • Attrition due to the pressure of working to tight deadlines • Shedding staff quickly once an event is over.

Secondly, as volunteers, as opposed to paid staff, can sometimes make up a significant proportion of an event’s workforce, or indeed, on occasions, can comprise its entire workforce, matters specific to the management of this labour source need to be understood by the managers of many types of events.

REFER TO SECTION: Considerations Associated with HR Planning for Events

32. What is a Human Resource strategy, in terms of events? What kinds of objectives might be included?

An event’s human resource strategy seeks to develop an approach to staffing and the use of volunteers that supports the event's overall mission and objectives. This link can be demonstrated by reference to the following examples that identify a few selected areas in which an organisation might set objectives and the implications of such objectives from a human resource management perspective: • Cost containment — improved staff/volunteer productivity, reduced absenteeism and decreased staff numbers • Improved quality — better recruitment and selection, expanded employee and volunteer training, increased staff and volunteer numbers, and improved financial rewards and volunteer benefits • Improved organisational effectiveness — better job design, changes to organisational structure and improved relations with employees and volunteers • Enhanced performance regarding social and legal responsibilities — improved compliance through training with relevant legislation, such as that relating to occupational health and safety, anti-discrimination and equal employment opportunity.

REFER TO SECTION: The Human Resource Planning Process for Events

© John Wiley & Sons Australia, Ltd 2010 10

Chapter 8: Human resource management and events

33. What is the role of policies and procedures in Human Resource management?

Policies and procedures are needed to provide the framework in which the following tasks in the human resource planning process take place: recruitment and selection; training and professional development; supervision and evaluation; termination, outplacement, reemployment; and evaluation.

Policies and procedures serve to: • Reassure all staff that they will be treated fairly — for example, seniority will be the determining factor in requests by volunteers to fill job vacancies • Help managers make quick and consistent decisions — for example, rather than a manager having to think about the process of terminating the employment of a staff member or volunteer, they can simply follow the process already prescribed • Give managers the confidence to resolve problems and defend their positions — for example, an event manager who declines to consider an application from a brother of an existing employee may point to a policy on employing relatives of existing personnel if there is a dispute.

REFER TO SECTION: The Human Resource Planning Process for Events

34. How might event managers with limited resources to devote to recruitment attract the right staff? Outline 5 strategies.

There are a range of strategies a resource-strapped HR manager might use to attract the right staff. These include: • Using stakeholders (for example, local councils, community groups, sponsors and event suppliers) to communicate the event’s staffing needs (volunteer and paid) to their respective networks. McCurley and Lynch (1998), in the context of volunteers, call this approach ‘concentric circle recruitment’ because it involves starting with the groups of people who are already connected to the event or organisation and working outwards. It is based on the premise that volunteers are recruited by someone they know — for example, friends or family, clients or colleagues, staff, employers, neighbours or acquaintances such as members from the same clubs and societies.

• Negotiating sponsorship agreements in a way that requires the sponsor, as part of their agreement with the event, to provide temporary workers with particular skills, such as marketing staff • Identifying and liaising with potential sources of volunteers/casual staff, including universities and colleges (projects and work placements/internships may be specially created for these groups, particularly if they are studying festival, exhibition and event management or a related area such as film), job centres, religious groups, service clubs (such as Lions and Rotary), community service programs, senior citizen centres and retirement homes, chambers of commerce, and community centres. The International Festival and Events Association ( www.ifea.com ) and the Australian • Centre for Event Management (www.acem.uts.edu.au) are examples of organisations that maintain an event-based internship/employment ‘bank’ on their websites.

• Seconding staff from associated organisations, such as state and local government • Utilising existing programs for the unemployed • Determining the make-up (for example, age, sex, occupations) and motivations of existing volunteers, and using this information as the basis of further targeted © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management 5e by Allen et al

•

• • •

recruitment Gaining the assistance of local and specialist media (for example, radio, television, newspapers, specialist magazines) in communicating the event’s human resource needs. This process is greatly assisted if one or more media organisations are in some way (such as through sponsorship) associated with the event.

Targeting specific individuals within a community who have specialist skills to sit on boards or undertake specific tasks, such as those tasks associated with the legal and accounting aspects of conducting an event Registering with volunteer agencies. In Australia, these agencies include Volunteering NSW/ACT/South Australia/Queensland/Tasmania.

Conducting social functions at which, for example, existing volunteers or staff might be encouraged to bring potential candidates, or to which particular groups/targeted individuals are invited.

FEEDBACK: Note: Students are not expected to list every strategy – only 5.

REFER TO SECTION: The Human Resource Planning Process for Events

35. What are the general components of an employment contract?

The general components of an employment contract are: • A statement of job titles and duties • The date of employment commencement • Rate of pay, allowances, overtime, bonuses (and any associated conditions), method and timing of payment • Hours of work including breaks • Holiday arrangements/entitlement • Sickness procedure (including sick pay, notification of illness) • Length of notice due to and from the employee • Grievance procedure • Disciplinary procedure • Work rules • Arrangements for terminating employment • Arrangements for union membership (if applicable) • Special terms relating to confidentiality, rights to patents and designs, exclusivity of service, and restrictions on trade after termination of employment (for example, cannot work for a direct competitor within six months) • Employer’s right to vary terms and conditions subject to proper notification REFER TO SECTION: The Human Resource Planning Process for Events

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Chapter 8: Human resource management and events

36. What options exist to reward volunteers for their efforts?

Volunteers might be rewarded for their efforts in a number of ways. These include: • Training in new skills • Free merchandise (for example, clothing, badges, event posters) • Hospitality in the form of opening and closing parties, free meals/drinks • Certificates of appreciation • Provision of a meeting space on festival site, e.g. Volunteers Lounge • Gifts of sponsor products • Opportunities to meet with celebrities, sporting stars and other VIPs • Promotion to more interesting volunteer positions with each year of service • Public acknowledgement through the media and at the event • Free tickets/event registration.

REFER TO SECTION: The Human Resource Planning Process for Events 37. What is Herzberg's content theory of motivating staff? How does it suggest managers might motivate their staff?

Herzberg (1968) argues that there are elements of employee work situations that do not of themselves motivate or satisfy people. He calls these 'hygiene factors'. These include pay levels, policies and procedures, working conditions and job security. However, the absence or perceived reduction in these items can stimulate hostility or dissatisfaction towards an organisation. Herzberg further argues that other factors, which he calls motivators, of themselves lead to goal-directed behaviour. These elements include achievement, recognition and interesting work.

Herzberg’s theory suggests event managers can motivate staff and volunteers by: • Instituting processes of recognising achievement • Empowering staff so they can take responsibility for the outcomes of their part of • the event • Providing opportunities for them to grow in skills, experience and expertise.

It also suggests event managers need to be conscious of certain hygiene factors that can act as demotivators. These might include attitudes of supervisors, working conditions such as the length of meal/coffee breaks and hours of work, quality of food provided, the status of one job compared with another (for example, waste management officer versus publicity coordinator), and policies such as the type/quality of uniforms provided to staff versus volunteers.

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

REFER TO SECTION: Motivating Staff and Volunteers 38. What does Vroom's expectancy theory say about staff motivation?

Expectancy theory holds that an individual’s motivation to act in a particular way comes from a belief that a particular outcome will result from doing something (expectancy). This outcome will result in a reward (instrumentality). The rewards for accomplishing this outcome are sufficiently attractive/desirable to justify the effort put into doing it (valence). Motivation, under this theory (in its most simplistic form), can therefore be expressed as: motivation = expectancy x instrumentality x valence This being the case, whenever one of the elements in this equation approaches zero, the motivational value of a particular decision is dramatically reduced. Event managers need to be aware of this and, therefore, try to maximise all three motivational components. In other words, there must be a clear payoff if employees and volunteers are to perform at a high level.

To understand what this payoff needs to be for each staff member and volunteer is difficult; however, the chances of doing so are greatly increased if lines of communication are kept open and if a genuine effort is made to understand each individual.

As an example of how expectancy theory works, take the situation of people who decide to work voluntarily on their local community festival. They may have certain expectations such as: • By working on the event they will gain certain new skills • These new skills in turn will enhance their future employability, thus creating an instrumentality • The jobs for which they will be able to apply with these new skills are ones that they would find rewarding, thus generating a high level of valence (or attraction) to the volunteer positions on offer. © John Wiley & Sons Australia, Ltd 2010 14

Chapter 8: Human resource management and events

REFER TO SECTION: Motivating Staff and Volunteers

39. What strategies does McDuff (1995) suggest for effective team building?

Writing in the context of volunteers in general, McDuff (1995) proposes a 14-point formula for effective team building and maintenance. Many of these points (noted following) can be said to apply equally to teams of paid staff.

1. Teams are a manageable size. Most effective teams are between two and 25 people, with the majority fewer than ten.

2. People are appropriately selected to serve on a team. Care and attention is paid to selecting people with the right combination of skills, personality, communication styles and ability to perform, thereby improving the chances of the team being successful.

3. Team leaders are trained. Leaders who find it difficult to delegate and want to do everything themselves make poor leaders. Try to ensure team leaders have training in supervision skills.

4. Teams are trained to execute their tasks. It is unrealistic to expect teams to perform effectively without appropriate training. The training should include the team’s role in the activity and how that role contributes to the activity’s overall success.

5. Volunteers and staff are supported by the organisation. Teams must feel that the administration is there to support their endeavours, not to hinder them.

6. Teams have objectives. The purpose of the team is spelt out in measurable objectives.

Having a plan to achieve those objectives helps build trust.

7. Volunteers and staff trust and support one another. People trust each other when they share positive experiences. When each team is aware of the organisation’s objectives and how its role helps to achieve those objectives, it trusts co-workers and supports their efforts.

8. Communication between volunteers and the event organisation is both vertical and horizontal. Communication, which means sending ‘meanings’ and understandings between people, is a process involving an active and continuous use of active listening, the use of feedback to clarify meaning, the reading of body language, and the use of symbols that communicate meaning. Communication travels in all directions — up and down the reporting line, and between teams and work groups.

Working together is facilitated by good communication.

9. The organisational structure promotes communication between volunteers and staff.

The organisation’s structure, policies and operating programs permit and encourage all members of the organisation to communicate with their co-workers, their managers and members of other departments. This helps build an atmosphere of cooperation and harmony in the pursuit of common objectives.

10. Volunteers and staff have real responsibility. A currently fashionable concept of management is ‘empowerment’. This means giving staff authority to make decisions about their work and its outcomes. Take, for example, a group of volunteers having the somewhat mundane task of making sandwiches. If they are empowered with the authority to decide what sandwiches to make, how to make them and what to charge, their enthusiasm for the task will probably be enhanced and there will be a corresponding improvement in outcomes.

11. Volunteers and staff have fun while accomplishing tasks. Managers should strive to engender an atmosphere of humour, fun and affection among co-workers within the culture of the organisation. Such actions as ceremonies to acknowledge exemplary contributions to the event, wrap-up parties and load-in celebrations can facilitate this © John Wiley & Sons Australia, Ltd 2010 15

Testbank to accompany Festival and Special Event Management 5e by Allen et al

atmosphere.

12. There is recognition of the contributions of volunteers and staff. Paid staff should express formal and informal appreciation of the work of volunteers, and volunteers should publicly recognise and appreciate the work of the paid staff. This mutual appreciation should be consistent, public and visible.

13. Volunteers and staff celebrate their success. Spontaneous celebrations with food, drink, friendship and frivolity should be encouraged by management of the event, to celebrate achievement of objectives. The event manager should allocate a budgeted amount for these occasions.

14. The entire organisation promotes and encourages the wellbeing of volunteer teams.

Everyone in the organisation sees themselves as part of a partnership and actively promotes such relationships.

REFER TO SECTION: Building Effective Staff and Volunteer Teams 40. In general terms, what are an employer's rights and responsibilities? How are these matched by an employee's rights and responsibilities?

Event organisations, along with their employees, have rights and responsibilities under common law that they must exercise when they enter into an employment contract. For employers, these include: • Pay correct wages • Reimburse employees for work-related expenses • Ensure a safe working environment suitable for the performance of the employee’s duties • Not act in a way that may seriously damage an employee’s reputation or to cause mental distress or humiliation • Not act in a way that will damage the trust and confidence necessary for an employment relationship • Not to provide a false or misleading reference (should one be provided) • Forward PAYE tax instalments to the Australian Taxation Office • Make appropriate payment under the Superannuation Guarantee legislation.

The rights and responsibilities for employees include: • To obey the lawful and reasonable instructions of the employer • To exercise due care in the performance of the work and to do it competently • To account to the employer for all moneys and property received while employed • To make available to the employer any process or product invented by the employee in the course of employment • To disclose to the employer information received by the employee relevant to the employer’s business • To be faithful to the employer’s interests; for example, by not passing on to a competitor information about the employer’s business or denigrating the employer’s products and services (Office of Industrial Relations, Department of Commerce, 2007).

In the context of volunteers, common law precedents also provide rights to damages if negligence can be shown on behalf of an event organiser.

REFER TO SECTION: Legal Obligations © John Wiley & Sons Australia, Ltd 2010 16

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 9: Marketing Planning for Events MULTIPLE CHOICE 1.

Marketing:

a.

Is concerned with satisfying consumer needs and wants by exchanging goods, services or ideas for something of value Consists of all activities designed to generate and facilitate any exchange intended to satisfy human needs and wants Is the management process responsible for identifying, anticipating and satisfying customer needs profitably.

All of the above

b. c. d.

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: What is Marketing 2.

Event Marketing:

a. b. c. d.

Prioritises saleability over artistic principles Connects the events products with consumer needs Drives innovation, if there is an established market for it Responds to the expressed needs of event visitors

ANS: B. Connects the events products with consumer needs FEEDBACK: Easy.

REFER TO SECTION: What is Marketing 3.

The challenge that arises for marketers from events being an intangible product is:

a. b. c. d.

That unsold portions of the product (i.e. tickets) cannot be stored and sold later That any variations in the quality of the event from one event to the next need to be managed To provide potential visitors with advance clues about the nature of the event That the event has qualities and aspects that consumers do not have enough knowledge or experience to understand or evaluate

ANS: C. To provide potential visitors with advance clues about the nature of the event FEEDBACK: Moderate.

REFER TO SECTION: What is Marketing

© John Wiley & Sons Australia, Ltd 2010 2

Chapter 9: Marketing planning for events

4.

The challenge that arises for marketers from events having credence characteristics is:

a. b. c. d.

That unsold portions of the product (i.e. tickets) cannot be stored and sold later That any variations in the quality of the event from one event to the next need to be managed To provide potential visitors with advance clues about the nature of the event That the event has qualities and aspects that consumers do not have enough knowledge or experience to understand or evaluate

ANS: D. That the event has qualities and aspects that consumers do not have enough knowledge or experience to understand or evaluate FEEDBACK: Moderate.

REFER TO SECTION: What is Marketing 5.

The challenge that arises for marketers from events being a perishable product is:

a. b. c. d.

That unsold portions of the product (i.e. tickets) cannot be stored and sold later That any variations in the quality of the event from one event to the next need to be managed To provide potential visitors with advance clues about the nature of the event That the event has qualities and aspects that consumers do not have enough knowledge or experience to understand or evaluate

ANS: A. That unsold portions of the product (i.e. tickets) cannot be stored and sold later FEEDBACK: Moderate.

REFER TO SECTION: What is Marketing 6.

The challenge that arises for marketers from events being an inseparable product is:

a. b. c. d.

That unsold portions of the product (i.e. tickets) cannot be stored and sold later That any variations in the quality of the event from one event to the next need to be managed To provide potential visitors with advance clues about the nature of the event That the event has qualities and aspects that consumers do not have enough knowledge or experience to understand or evaluate

ANS: B. That any variations in the quality of the event from one event to the next need to be managed FEEDBACK: Difficult.

REFER TO SECTION: What is Marketing 7.

In strategic marketing, a C-PEST analysis is a thorough analysis of:

a.

Consumer patterns, and the the political, economic, socio-cultural and technological environment in which the consumer lives Consumer patterns, and the preferences, experience, salary and the availability of time for the identified target market Competitor activities, and the political, economic, socio-cultural and technological environment in which the event occurs Competitor activities, and the past, established, secure and tentative examples of competitive events

b. c. d.

ANS: C. Competitor activities, and the political, economic, socio-cultural and technological environment in which the event occurs © John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management by Allen et al.

FEEDBACK: Moderate.

REFER TO SECTION: Event Marketing Research 8.

In strategic marketing, a C-PEST analysis attempts to identify:

a. b. c. d.

Any relevant influence coming from within the organisation Any relevant influence coming from outside the organisation The marketable strengths of the event All of the above

ANS: B. Any relevant influence coming from outside the organisation FEEDBACK: Moderate.

REFER TO SECTION: Event Marketing Research 9.

In strategic marketing, an analysis of the competitive environment focuses on:

a. b. c. d.

The respective bargaining power of input suppliers and product buyers The threat of new entrants into the industry The threat of competition from other products that serve a similar function to the customer All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Event Marketing Research 10. In strategic marketing, an analysis of potential substitutes for a rock music festival considers: a. b. c. d.

Other rock music festivals Any other music festivals Any other festival or event Any experience that fulfils the same consumer need for stimulating entertainment

ANS: D. Any experience that fulfils the same consumer need for stimulating entertainment FEEDBACK: Moderate.

REFER TO SECTION: Event Marketing Research 11. In strategic marketing, a USP is: a. b. c. d.

An event's Unique Selling Proposition – the aspect that best distinguishes it in the marketplace An event's Undervalued Strength and Potential – the popular aspects of an event that have not been fully exploited A market's Unique Structure and Practices – the features that distinguish it from other markets A market's Untapped Supporters and Proponents – any sympathetic agents in the market that may assist marketing efforts

ANS: A. An event's Unique Selling Proposition – the aspect that best distinguishes it in the marketplace FEEDBACK: Moderate.

REFER TO SECTION: Event Marketing Research © John Wiley & Sons Australia, Ltd 2010 4

Chapter 9: Marketing planning for events

12. In strategic marketing, an analysis of the political environment considers: a. b. c. d.

The events ability to gain or maintain government support The regulatory environment Public moods and attitudes that might affect government support or opposition to the event All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Event Marketing Research 13. From the point of view of a major Australian festival, an appreciation in the Australian Dollar: a. b. c. d.

Will encourage overseas visitors to the event Will make it more expensive to source international acts Will make it cheaper to source international acts Has little affect on the festival's operations

ANS: C. Will make it cheaper to source international acts FEEDBACK: Difficult.

REFER TO SECTION: Event Marketing Research 14. From a strategic marketing perspective, an analysis of an event's internal resources focuses on: a. b. c. d.

Land, labour and capital resources Human, physical and financial resources Capital, monetary and financial resources Creative, organisational and marketing resources

ANS: B. Human, physical and financial resources FEEDBACK: Moderate.

REFER TO SECTION: Event Marketing Research 15. Studies suggest that the adoption of new leisure services follows a normal distribution.

This suggests that the marketing team of a new festival could do well to target: a. b. c. d.

Innovators Early Adopters Laggards All of the above

ANS: A. Innovators FEEDBACK: Moderate.

REFER TO SECTION: Event Marketing Research

© John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management by Allen et al.

16. Marketing that targets people living within a 10 km radius of the festival site is an example of: a. b. c. d.

Geographic segmentation Demographic segmentation Psychographic segmentation All of the above

ANS: A. Geographic segmentation FEEDBACK: Moderate.

REFER TO SECTION: Steps in the Marketing Planning Process 17. Marketing that targets couples with young children is an example of: a. b. c. d.

Geographic segmentation Demographic segmentation Psychographic segmentation All of the above

ANS: B. Demographic segmentation FEEDBACK: Moderate.

REFER TO SECTION: Steps in the Marketing Planning Process 18. Marketing that targets people who think of themselves as small 'l' liberal is an example of: a. b. c. d.

Geographic segmentation Demographic segmentation Psychographic segmentation All of the above

ANS: C. Psychographic segmentation FEEDBACK: Moderate.

REFER TO SECTION: Steps in the Marketing Planning Process 19. In the marketing planning process, positioning refers to: a. b. c. d.

Being among the first to enter a new or emerging market Influencing the way the target market segments perceive the organisation's offer in relation to their competitors Associating the event with particular ideas, opinions or values All of the above

ANS: B. Influencing the way the target market segments perceive the organisation's offer in relation to their competitors FEEDBACK: Moderate.

REFER TO SECTION: Steps in the Marketing Planning Process

© John Wiley & Sons Australia, Ltd 2010 6

Chapter 9: Marketing planning for events

20. Working from the product-market matrix, an example of a market penetration strategy is: a. b. c. d.

Taking the skills learnt in managing a symphony orchestra to establish an innovative concert series for teenagers Aggressively publicising an arts show in magazines already known to be popular with people who attend the event Marketing the fair day to a socio-economic group that traditionally hasn't been big attendees Introducing elements to a cultural festival that are becoming popular with the the event's supporter base

ANS: B. Aggressively publicising an arts show in magazines already known to be popular with people who attend the event FEEDBACK: Difficult.

REFER TO SECTION: Steps in the Marketing Planning Process 21. Working from the product-market matrix, an example of a Product development strategy is: a. b. c. d.

Taking the skills learnt in managing a symphony orchestra to establish an innovative concert series for teenagers Aggressively publicising an arts show in magazines already known to be popular with people who attend the event Marketing the fair day to a socio-economic group that traditionally hasn't been big attendees Introducing elements to a cultural festival that are becoming popular with the the event's supporter base

ANS: D. Introducing elements to a cultural festival that are becoming popular with the the event's supporter base FEEDBACK: Difficult.

REFER TO SECTION: Steps in the Marketing Planning Process 22. Working from the product-market matrix, an example of a market development strategy is: a. b. c. d.

Taking the skills learnt in managing a symphony orchestra to establish an innovative concert series for teenagers Aggressively publicising an arts show in magazines already known to be popular with people who attend the event Marketing the fair day to a socio-economic group that traditionally hasn't been big attendees Introducing elements to a cultural festival that are becoming popular with the the event's supporter base

ANS: C. Marketing the fair day to a socio-economic group that traditionally hasn't been big attendees FEEDBACK: Difficult.

REFER TO SECTION: Steps in the Marketing Planning Process

© John Wiley & Sons Australia, Ltd 2010 7

Testbank to accompany Festival and Special Event Management by Allen et al.

23. Working from the product-market matrix, an example of a diversification strategy is: a. b. c. d.

Taking the skills learnt in managing a symphony orchestra to establish an innovative concert series for teenagers Aggressively publicising an arts show in magazines already known to be popular with people who attend the event Marketing the fair day to a socio-economic group that traditionally hasn't been big attendees Introducing elements to a cultural festival that are becoming popular with the the event's supporter base

ANS: A. Taking the skills learnt in managing a symphony orchestra to establish an innovative concert series for teenagers FEEDBACK: Difficult.

REFER TO SECTION: Steps in the Marketing Planning Process 24. In marketing terms, packaging an event means: a. b. c. d.

Focusing on how the event is presented in the public sphere and managing its public face Using marketing to persuade consumers to see the event as being in the same box as a number of other popular products Using marketing to persuade customers that the event will meet not one but a range of their needs Selling the ticket to an event in a bundle with other products that complement the event, such as accommodation or dinner

ANS: D. Selling the ticket to an event in a bundle with other products that complement the event, such as accommodation or dinner FEEDBACK: Moderate.

REFER TO SECTION: Steps in the Marketing Planning Process 25. Even if an event does not charge an entry fee, participants will still measure the benefits of attending against: a. b. c. d.

The cost of the time involved The social and emotional costs that might be involved in attending The costs associated with getting to the event All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Pricing 26. Charging the highest price that the target market will pay is an example of a: a. b. c. d.

Revenue orientated pricing strategy Operations orientated pricing strategy Market orientated pricing strategy All of the above

ANS: A. Revenue orientated pricing strategy FEEDBACK: Moderate. © John Wiley & Sons Australia, Ltd 2010 8

Chapter 9: Marketing planning for events

REFER TO SECTION: Pricing 27. Charging a discounted price during the off-season is an example of a: a. b. c. d.

Revenue orientated pricing strategy Operations orientated pricing strategy Market orientated pricing strategy All of the above

ANS: B. Operations orientated pricing strategy FEEDBACK: Moderate.

REFER TO SECTION: Pricing 28. Charging a discounted for under 25s is an example of a: a. b. c. d.

Revenue orientated pricing strategy Operations orientated pricing strategy Market orientated pricing strategy All of the above

ANS: C. Market orientated pricing strategy FEEDBACK: Moderate.

REFER TO SECTION: Pricing 29. With regards to pricing tickets for an event, a cost leadership strategy involves: a. b. c. d.

Staying ahead of the market, by matching any price offered Being cheaper than any comparable event in the market Being the most expensive in the market, and using marketing to promote the exceptional value of this particular event Being the most expensive and relying on the prestige that comes with a higher price

ANS: B. Being cheaper than any comparable event in the market FEEDBACK: Moderate.

REFER TO SECTION: Pricing 30. With regards to pricing tickets for an event, a differentiation strategy involves: a. b. c. d.

Staying ahead of the market, by matching any price offered Being cheaper than any comparable event in the market Being the most expensive in the market, and using marketing to promote the exceptional value of this particular event Being the most expensive and relying on the prestige that comes with a higher price

ANS: C. Being the most expensive in the market, and using marketing to promote the exceptional value of this particular event FEEDBACK: Moderate.

REFER TO SECTION: Pricing

© John Wiley & Sons Australia, Ltd 2010 9

Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY QUESTIONS 31. What is event marketing? What kinds of things do event marketers do?

Therefore, event marketing can be defined as the process by which event managers and marketers gain an understanding of their potential consumers’ characteristics and needs in order to produce, price, promote and distribute an event experience that meets both these needs and the financial or social objectives of the special event.

The following list shows the marketing activities that an event marketing manager may undertake to produce a successful festival or special event.

• Identify a target market whose needs can be satisfied by the event.

• Analyse the needs of the target market to establish the design of the event experience and the way in which it will be delivered in order to satisfy these identified needs.

• Predict how many people will attend the event and the times that different groups or market segments will attend.

• Research any competing events that could satisfy similar needs to devise a unique selling proposition (USP) for the event that enables it to be differentiated from similar leisure activities.

• Estimate the price or value that visitors are willing to exchange to attend an event — for example, ticket price or donation.

• Decide on type and quantity of promotional activity (otherwise known as integrated marketing communication), including the media mix (the various types of communication with the target market, such as print, television, radio and internet) and messages that will reach the audiences of the event.

• Consider how the choice and design of venue(s) and the methods of ticket distribution fit with the needs of attendees.

• Establish the metrics to judge the success of the event in achieving its marketing objectives.

All of these activities, fundamental for a successful event, are part of the marketing function.

REFER TO SECTION: What is Marketing?

32. What can marketing techniques and practices contribute to events? Can a marketing approach be useful to all types of cultural events and festivals?

All festival and event managers, can benefit from an understanding of marketing techniques and having some experience in using those techniques to satisfy the identified needs of a target market.

Failure to understand the role of marketing, including its societal perspective, can lead to dissatisfied consumers and a weak relationship with stakeholders who can strongly influence an event’s long-term survival, and, of course, to the failure of the event to reach its objectives.

In terms of the contribution to events, sound marketing research can unveil the latent needs of consumers that only innovative events can satisfy. Marketing techniques are also useful for the following reasons: • The use of marketing principles and techniques gives event managers a framework for decision making that should result in events that not only reflect innovation and creativity, but cater for market segments that seek novelty or the excitement of something new.

© John Wiley & Sons Australia, Ltd 2010 10

Chapter 9: Marketing planning for events

• • •

•

Sponsoring bodies need reassurance that their sponsorship is linking their brand with their target markets. Sound marketing practices give marketers the ability to convince sponsors that a festival or event is the right marketing investment for them.

All three levels of government (local, state and national) financially assist many festivals and events. Governments usually fund only those events whose management can demonstrate some expertise in marketing planning and management.

Event stakeholders, such as the community, environmentalists, providers of public services such as the police, political leaders and consumers, are critical in today’s societal marketing approach. A societal marketing approach emphasises the importance of society’s wellbeing alongside satisfaction of the needs and wants of event or festival markets.

Consumers, particularly those who reside in major cities, have an enormous range of leisure activities on which to spend their disposable income. This means a festival or special event, as a leisure activity, will attract only those who expect to satisfy at least one of their perceived needs.

REFER TO SECTION: What is Marketing?

33. How does the PIECE framework help us understand the consumer's decision making process, in the context of events?

Understanding the consumer decision-making process for events and festivals is aided by the following PIECE acronym: • Problem recognition — the difference between someone’s existing state and their desired state relative to leisure consumption • Information search — an internal and/or external search; limited or extensive search processes for leisure (including event) solutions • Evaluation and selection of leisure alternatives • Choosing whether to attend an event and which optional purchases to make at the event or festival • Evaluation of the post-event experience.

Reflecting this PIECE process, the consumer identifies a need that may be satisfied by attending an event or other leisure experience, searches for information about such an experience in different media (the internet, entertainment section of newspapers, the radio, magazines, friends and relatives), and then evaluates the alternatives available. Potential consumers examine how the leisure experience compares with a list of the attributes they most desire. Event goers may want to enhance family ties, so attend a local community festival that all members of the family can enjoy.

Alternatively they may be looking for a novel or innovative event to satisfy their curiosity. After experiencing (or ‘consuming’) the event, they re-evaluate the experience for its quality of service and its capacity to satisfy their identified needs.

REFER TO SECTION: Event Marketing Research

34. What are people's motives for attending events and festivals? What needs are satisfied? © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management by Allen et al.

A set of common motives (defined as the strength of the drive to satisfy the identified need) for attending festivals has been cited in a wide range of studies (see, for example, Backman et al. 1995; Crompton and McKay 1997; Uysal, Gahan and Martin 1993). A summary of motives for festival attendance that consistently emerge are: • Socialisation or external interaction — meeting new people, being with friends and socialising in a known group • Family togetherness — seeking the opportunity to be with friends and relatives and doing things together to create greater family cohesion • Escape from everyday life, as well as recovering equilibrium — getting away from the usual demands of life, having a change from daily routine and recovering from life’s stresses • Learning about or exploring other cultures — gaining knowledge about different cultural practices and celebrations • Excitement / thrills — doing something because it is stimulating and exciting • Event novelty / ability to regress — experiencing new and different things and/or attending a festival that is unique.

These motives have been found in most festival studies and also among visitors to events and exhibitions. However, the order of importance given to different attendance motives appears to vary according to the type of festival or event.

REFER TO SECTION: Event Marketing Research

35. What is measured by the SERVQUAL survey of service quality?

The SERVQUAL survey is a method of measuring service quality and customer's event satisfaction.

Because it is harder to evaluate ‘technical’ quality (such as the musical performance at the festival, or the performance of a sporting team), much of the focus in measuring perceived service quality is on functional aspects, or ways in which service is delivered.

For this reason, the five main dimensions of service quality in the commonly used SERVQUAL questionnaire (Parasuraman, Zeithaml and Berry 1988) mostly reflect functional service aspects: 1. Assurance — staff and/or volunteers give the appearance of being knowledgeable, helpful and courteous, and event consumers are assured of their wellbeing 2. Empathy — the event staff and/or volunteers seem to understand the consumers’ needs and deliver caring attention 3. Responsiveness — the staff and volunteers are responsive to the needs of the consumer 4. Reliability — everything happens at the event in the way the marketing communication has promised 5. Tangibles — the physical appearance of the event equipment, artists’ costume/presentation and the physical setting meet visitor expectations.

Using these five dimensions, the SERVQUAL questionnaire measures the difference between visitor expectations and perceptions of a festival or event. When the visitors’ perceptions of their event experience match or exceed their expectations, a quality experience has been delivered, and the outcome is satisfied attendees who could decide to go to the event next time it is held.

REFER TO SECTION: Event Marketing Research

© John Wiley & Sons Australia, Ltd 2010 12

Chapter 9: Marketing planning for events

36. What strategies might an organisation use to position their event favourably in the mindset of their target market? Use examples.

Positioning describes how target market segments perceive the company’s offer in relation to competing brands (Pride 2006, p. 130). Event positioning can be achieved in at least nine different ways: 1. The existing reputation or image of the event — for example, the Olympic Games and other longstanding events such as a football world cup 2. The charisma of a director or leader — for example, the Sydney Festival’s director, currently Lindy Hume, part of whose role is to generate positive publicity about the event to position the event in the perceptions of its consumers 3. A focus on event programming — for example, Ten Days on the Island in Tasmania, which is a festival programmed and positioned around the ‘island’ concept, where the artists originate from islands such as Iceland 4. Focus on performers — for example, major sports (such as football and golf) and theatre that highlight the players/performers (such as the 2009 Australian Masters golf tournament that featured Tiger Woods, and consequently drew much larger spectator numbers and television audiences) 5. An emphasis on location or venue and its facilities — for example, Wimbledon, which is now synonymous with world-standard tennis, or the Melbourne Cricket Ground (MCG), synonymous with Australian sport 6. Event users — for example, Australian Rules Football fans attending the grand final at the MCG 7. Price or quality — for example, a free civic concert series such as those that are part of the Sydney Festival’s concerts in the park series, versus an operatic performance by the world’s three best tenors 8. The purpose or application of the event — for example, Mercedes Australian Fashion Week, which is positioned by its showcasing the best of Australian fashion design, both in Sydney and Melbourne, while at the same time introducing the work of new designers to potential buyers. It positions itself as an industry-only event, made accessible to buyers, the fashion media and other fashion industry representatives 9. The event category or ‘product’ class — for example, fashion events, food and wine festivals, and concerts.

REFER TO SECTION: Steps in the Marketing Planning Process

37. When planning the event 'product' experience, what elements are important to consider in developing a successful program?

Robyn Archer, creator of Tasmania's Ten Days on the Island festival, together with participants of the Theatre Shop Conference 2002 outlined at least four key elements in programming success: 1. The need for a distinguishing core concept or theme in the program. What is it that is presented that actually has meaning to the audience? The Stompem Ground event in Broome, Western Australia, celebrates Aboriginal musicians and bands that are out of the mainstream, some of whom are brilliant but unknown. Its program is of great import in providing a platform for new and existing Aboriginal artists.

2. The need to marry the event program with its physical environment or site. What kinds of performances will really be spectacular in this setting? What kinds of performers and stage © John Wiley & Sons Australia, Ltd 2010 13

Testbank to accompany Festival and Special Event Management by Allen et al.

structures (existing and created) will shine in this environment? The Perth International Arts Festival enhanced its 2006 program by staging events that focused on the culture of the local Aboriginal people under the trees in Kings Park, and the Opera of Samson and Delilah under the stars in the Supreme Court Gardens. Of course, Perth has a climate that has virtually no summer rain, thereby removing the risk of using outdoor venues.

3. The role and operational approach of the artistic director/producer. The producers are both program gatekeepers (selecting event participants from proposals submitted by performers) and poachers (travelling around to pick the best performers, just as sports clubs send out their talent scouts to sign talented athletes).

4. Established criteria for program content. Criteria include the compatibility of performers to a festival’s market, the history of this type of performance at other events, and a performance’s technical quality. Some producers of bigger festivals have a rule about (1) how many times an overseas act has performed within the country, and (2) a desired ratio of innovation and tradition in their event portfolio.

However, programming is both an art and a science. The event manager considers the artistic, entertainment, educational or sport-related criteria that an event should achieve, as well as its marketing criteria. However, as with all successful entertainment, an intangible ‘wow’ factor also differentiates the truly successful event program.

REFER TO SECTION: Planning Event 'Product' Experiences

38. In regards to developing a pricing strategy, what decisions must a marketer make?

Key questions that the event marketer must resolve in determining the pricing strategy relate to both pricing levels and methods of payment. This question can be summarised as follows: FIGURE 9.9 Pricing decisions for events marketers How much should be charged?

• What costs must be covered?

• How sensitive are customers to different prices?

• What are leisure competitors’ prices?

• What levels of discounts to selected target markets are appropriate?

• Should psychological pricing (for example, $10.95 instead of $11) be used?

What should be the basis of pricing?

• Should each element be billed separately?

• Should one admission fee be charged?

• Should consumers be charged for resources consumed?

• Should a single price for a bundled package be charged?

Who shall collect payment?

• The event organisation?

• A ticketing intermediary?

• Direct to event’s bank account via a debit/credit card when tickets booked online?

Where should payment be made?

• At the event?

• At a ticketing organisation?

• At the customer’s home or office by using the internet or telephone?

When should payment be made?

• When tickets are given out? © John Wiley & Sons Australia, Ltd 2010 14

Chapter 9: Marketing planning for events

• On the day of the event?

How should payment be made?

• Cash — exact change?

• Credit card — via the internet? (now easy to use and very efficient as the consumer does the data entry) • Credit card via the telephone?

• Using PayPal (www.paypal.com.au), which simplifies accepting credit cards online • Electronic funds transfer at point of sale (EFTPOS)?

• Token donation?

REFER TO SECTION: Pricing

39. What are some of the advantages of on-line ticket sales?

The use of the internet as a distribution medium for events is now widespread, with the key advantages of online ticket sales being: • Speed — consumers can purchase tickets without leaving their home, queuing or waiting for a phone operator to become available.

• Consumer ease — consumers can view the different experiences offered by the event or festival in their own time, selecting the events or shows that best suit their pocket and time constraints, and the tickets delivered to their email address, complete with bar code.

• Revenue — ticket revenue comes from the buyer’s credit card, which facilitates security and ease of collection.

• Up-to-date technology — more and more consumers expect leisure services to be available for purchase on the internet. An online presence is critical in establishing an event or festival brand.

• Cost — the event only pays a small merchant fee to the credit card company or to PayPal, and the consumer pays no fee at all.

• Distribution — the tickets are sent as an email to the consumer at practically no cost, but very conveniently for the consumer.

REFER TO SECTION: Event 'Place', Physical Setting and Processes

40. What is a marketing plan? How does McDonald (2002) propose they be constructed?

The final step in the marketing planning process is to put all the thinking that has been done into a coherent plan that is the basis for the revenue and marketing expenditure budget. Marketing plans can come in various construction formats, but the simplest and most effective is that proposed by McDonald (2002). It would usually include all the steps and content outlined in the diagram below, and it gives guidance to how the marketing of the event is articulated to other stakeholders.

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Testbank to accompany Festival and Special Event Management by Allen et al.

REFER TO SECTION: The Marketing Plan

© John Wiley & Sons Australia, Ltd 2010 16

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 10: Promotion: Integrated Marketing Communication for Events MULTIPLE CHOICE 1.

Integrated Marketing Communications (IMC) is:

a.

A process of presenting a unified and consistent message in all forms of marketing communications A planning process designed to assure that all brand contacts received by a customer are relevant to that person and consistent over time The coordination of various promotional elements and other marketing activities that communicate with an organisation's customers All of the above

b. c. d.

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Introduction 2.

Integrated Marketing Communications (IMC):

a.

Focuses on the synergistic role of advertising, sales promotions, direct marketing, internet and interactive marketing, public relations and personal selling in the communication program Considers all sources of contact that a consumer has with an event as potential delivery channels for messages and makes use of all communication methods that are relevant to consumers Ensures that all sources of contact send consistent messages, constantly reinforced with similar meanings All of the above

b.

c. d.

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Introduction 3.

The Intefrag Marketing Continuum arranges marketing communication strategies on a scale between:

a. b.

Unified at one end, and cohesive and consistent at the other Cohesive and consistent at one end, and separate and separate and stand-alone at the other Independent and isolated at one end, and fragmented at the other Integrated at one end, and unified at the other

c. d.

ANS: B. Cohesive and consistent at one end, and separate and separate and stand-alone at the other FEEDBACK: Moderate. © John Wiley & Sons Australia, Ltd 2010 2

Chapter 10: Promotion: integrated marketing communication for events

REFER TO SECTION: Introduction 4.

The implication of the Intefrag Marketing Continuum is that an organisation's marketing will be more effective:

a. b. c. d.

The closer it is to the integrated end of the spectrum The closer it is to the fragmented end of the spectrum The closer it is to the balance point in the middle of the spectrum All of the above

ANS: A. The closer it is to the integrated end of the spectrum FEEDBACK: Moderate.

REFER TO SECTION: Introduction 5.

IMC seeks to create a consistent and cohesive message from:

a. b. c. d.

All advertising and publicity All sponsorship and corporate branding All packaging and merchandising All channels of communication between the event and its customers

ANS: D. All channels of communication between the event and its customers FEEDBACK: Moderate.

REFER TO SECTION: Introduction 6.

IMC seeks to:

a. b. c. d.

Identify the messages that will appeal to the needs of people in the event's target market Project a consistent message and image of the event to the target market Actively manage the event's relationship with its target market All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Applications of IMC 7.

In the context of IMC, branding refers to:

a. b. c. d.

The Event's logo All tangible packaging and presentation of the event, from logos to the website All intangible representations of the event, from its reputation to media commentary All sources of information that affects the consumer's perception of the event

ANS: D. All sources of information that affects the consumer's perception of the event FEEDBACK: Easy.

REFER TO SECTION: Applications of IMC

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Testbank to accompany Festival and Special Event Management by Allen et al.

8.

Brand messages come from four sources. An e-newsletter is an example of a:

a. b. c. d.

Planned message Unplanned message Product message Service message

ANS: A. Planned message FEEDBACK: Moderate.

REFER TO SECTION: Applications of IMC 9.

Brand messages come from four sources. An unflattering newspaper report about the event's waste management practices is an example of a:

a. b. c. d.

Planned message Unplanned message Product message Service message

ANS: B. Unplanned message FEEDBACK: Moderate.

REFER TO SECTION: Applications of IMC 10. Brand messages come from four sources. The confirmation of the head-line act is an example of a: a. b. c. d.

Planned message Unplanned message Product message Service message

ANS: C. Product message FEEDBACK: Moderate.

REFER TO SECTION: Applications of IMC 11. Brand messages come from four sources. The cleanliness of the shuttle-bus taking people to the event is an example of a: a. b. c. d.

Planned message Unplanned message Product message Service message

ANS: D. Service message FEEDBACK: Moderate.

REFER TO SECTION: Applications of IMC

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Chapter 10: Promotion: integrated marketing communication for events

12. In terms of an event's IMC, creating an awareness of the events venue and line up is: a. b. c. d.

An informational objective A transformational objective A behavioural objective A relational objective

ANS: A. An informational objective FEEDBACK: Moderate.

REFER TO SECTION: Applications of IMC 13. In terms of an event's IMC, fostering the belief that attending the event is good for the community is: a. b. c. d.

An informational objective A transformational objective A behavioural objective A relational objective

ANS: B. A transformational objective FEEDBACK: Moderate.

REFER TO SECTION: Applications of IMC 14. In terms of an event's IMC, convincing people to attend the event is: a. b. c. d.

An informational objective A transformational objective A behavioural objective A relational objective

ANS: C. A behavioural objective FEEDBACK: Moderate.

REFER TO SECTION: Applications of IMC 15. In terms of an event's IMC, persuading people to join the community of event supporters is: a. b. c. d.

An informational objective A transformational objective A behavioural objective A relational objective

ANS: D. A relational objective FEEDBACK: Moderate.

REFER TO SECTION: Applications of IMC

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Testbank to accompany Festival and Special Event Management by Allen et al.

16. In terms of an event's IMC, for most community and social events, the majority of messages will be: a. b. c. d.

Informational in nature Transformational in nature Behavioural in nature Relational in nature

ANS: A. Informational in nature FEEDBACK: Moderate.

REFER TO SECTION: Applications of IMC 17. In terms of establishing a budget for IMC, which of the following methods is not described as 'top down'? a. b. c. d.

What the event can afford Percentage of sales method Competitive parity method Objective and task method

ANS: D. Objective and task method FEEDBACK: Moderate.

REFER TO SECTION: Establishing the IMC budget 18. Certain methods for establishing the IMC budget can be described as 'top down', in the sense that: a. b. c. d.

The resources in the budget are received from management, rather than 'ground-up' sources The budget is received from management, after the marketing staff have determined how much is necessary to achieve their goals The budget is set by management, without regard for outcomes The budget is determined by the relationship to major stakeholders, especially sponsors

ANS: C. The budget is set by management, without regard for outcomes FEEDBACK: Moderate.

REFER TO SECTION: Establishing the IMC budget 19. The marketing team working within a budget that was established before they were even employed by the event organisation is an example of establishing the IMC budget by: a. b. c. d.

What the event can afford Percentage of sales method Competitive parity method Objective and task method

ANS: A. What the event can afford FEEDBACK: Moderate. © John Wiley & Sons Australia, Ltd 2010 6

Chapter 10: Promotion: integrated marketing communication for events

REFER TO SECTION: Establishing the IMC budget 20. The marketing team working within a budget that was set to be comparable to the budget of a similar event across the border in Victoria is an example of establishing the IMC budget by: a. b. c. d.

What the event can afford Percentage of sales method Competitive parity method Objective and task method

ANS: C. Competitive parity method FEEDBACK: Moderate.

REFER TO SECTION: Establishing the IMC budget 21. The marketing team deducing what budget will be needed in order to achieve a 10 percent increase in ticket sales is an example of establishing the IMC budget by: a. b. c. d.

What the event can afford Percentage of sales method Competitive parity method Objective and task method

ANS: D. Objective and task method FEEDBACK: Moderate.

REFER TO SECTION: Establishing the IMC budget 22. The marketing team working within a budget that is set to be 15 percent of forecast revenue is an example of establishing the IMC budget by: a. b. c. d.

What the event can afford Percentage of sales method Competitive parity method Objective and task method

ANS: B. Percentage of sales method FEEDBACK: Moderate.

REFER TO SECTION: Establishing the IMC budget 23. Of all of the methods for establishing the IMC budget, the only one that links the budget to any promotional objectives and the way these objectives are met is: a. b. c. d.

What the event can afford Percentage of sales method Competitive parity method Objective and task method

ANS: D. Objective and task method FEEDBACK: Moderate.

REFER TO SECTION: Establishing the IMC budget © John Wiley & Sons Australia, Ltd 2010 7

Testbank to accompany Festival and Special Event Management by Allen et al.

24. When considering the various tools in an IMC mix, an effective strategy is one that: a. b. c. d.

Is the cheapest strategy available Achieves the objectives it was employed to achieve Achieves the desired objectives, with the least amount resources Achieves the most amount of objectives

ANS: B. Achieves the objectives it was employed to achieve FEEDBACK: Moderate.

REFER TO SECTION: Elements of IMC 25. When considering the various tools in an IMC mix, an efficient strategy is one that: a. b. c. d.

Is the cheapest strategy available Achieves the objectives it was employed to achieve Achieves the desired objectives, with the least amount resources Achieves the most amount of objectives

ANS: C. Achieves the desired objectives, with the least amount resources FEEDBACK: Moderate.

REFER TO SECTION: Elements of IMC 26. The effectiveness of a particular advertising strategy is usually measured by: a. b. c. d.

Effectiveness and efficiency Spread and diffusion Impact and penetration Reach and frequency

ANS: D. Reach and frequency FEEDBACK: Moderate.

REFER TO SECTION: Elements of IMC 27. An advertising method's reach is defined as: a. b. c. d.

The geographical spread of the the promotional message's audience The depth of the message's impact (i.e. how much is recalled) The number of people in the target market that the promotional message has reached How many of the IMC's objectives are achieved by the promotional message

ANS: C. The number of people in the target market that the promotional message has reached FEEDBACK: Moderate.

REFER TO SECTION: Elements of IMC

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Chapter 10: Promotion: integrated marketing communication for events

28. An advertising method's frequency is a measure of: a. b. c. d.

The number of times a particular message needs to be received to be understood The number of times the people in the target market receive the promotional message The number of times a particular message needs to be received in order to influence behaviour The number of times a particular campaign can be used for the same product

ANS: B. The number of times the people in the target market receive the promotional message FEEDBACK: Moderate.

REFER TO SECTION: Elements of IMC 29. Which of the following correctly lists the possible functions of a website, in order from cheapest and least interactive to most expensive and interactive? a. b. c. d.

Brochureware, Interact, Transact, Integration Brochureware, Integration, Interact, Transact Integration, Transact, Brochureware, Interact, Integration, Interact, Transact, Brochureware

ANS: A. Brochureware, Interact, Transact, Integration FEEDBACK: Moderate.

REFER TO SECTION: Elements of IMC 30. In terms of IMC, a representative of a community festival addressing a high school assembly in order to encourage participation is an example of: a. b. c. d.

Sales promotion Public relations Personal Selling Advertising

ANS: C. Personal Selling FEEDBACK: Moderate.

REFER TO SECTION: Elements of IMC

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Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY QUESTIONS 31. What is IMC? In the context of developing and IMC strategy, what are the sources of brand messages?

There are a number of definitions of Integrated Marketing Communications (IMC).

Essentially IMC is a planning process designed to assure that all brand contacts received by a customer are relevant to that person and consistent over time. In developing an IMC strategy, an event manager should understand there are four sources of brand messages, or marketing communications, as in this case they are synonymous: 1. Planned messages (media releases, personal selling by the box office and/or ticket agency, advertising, e-newsletters, websites — in other words, all the planned promotional activities) 2. Unplanned messages (unexpected positive or negative impressions formed by word of mouth, media coverage, complaints) 3. Product messages (implied messages of information about the event — program, pricing, venue) 4. Service messages (the nature of contact with festival or event staff or volunteers, the quality of event transport and other support services).

Given these message types, the event brand is shaped by more than its planned promotional tools; instead, there are many influences on the event and its brand, some of which are obviously more manageable than others.

FEEDBACK: Refer to sections: Introduction & Application of IMC

32. How does the 'think, feel, act' model of consumer behaviour help us understand the objectives of an IMC campaign?

The objectives and strategies for the IMC campaign can be informational, transformational (attitudinal), behavioural or relational in their focus. This diagram shows how these different approaches correspond with the ‘think, feel, act’ model of consumer behaviour.

• The 'Think' relates to informational objectives such as creating awareness of the event, the venue, time, program elements, ticket purchase and pricing etc.

• The 'Feel' relates to transformational objectives such as creating an attitude, feeling, emotion, belief • or opinion about the event (and its message).

• The 'Do' relates to Behavioural objectives, such as achieving visitation, and Relational objectives such as creating interactivity and repeated action (visitor feedback and loyalty).

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Chapter 10: Promotion: integrated marketing communication for events

FEEDBACK: Refer to sections: Application of IMC

33. How might an event organisation determine what its IMC budget will be? Which of these is the most rigorous and effective?

There are four ways an event could determine its IMC budget.

1. What the event can afford – A figure is decided based on what is thought can be afforded, not based on what is needed to achieve the event’s marketing objectives.

2. Percentage of sales method – This method is commonly used in the marketing of fastmoving consumer goods, where the budget for promotion is set at x per cent of the forecast revenue.

3. Competitive parity method – This method establishes what other similar events spend on IMC and then bases promotional spend on this figure, and are based on the premise that if the norm for that sector is used, the event is adhering to the collective wisdom of the sector.

4. Objective and task method – This method works backwards from the IMC objectives to determine how much money is needed to achieve them. This is the most rational of the three methods, but it is also the most difficult as it requires estimates of the sales effect of a given expenditure. And it is certainly the most rigorous and effective of budgeting methods, as it is the only method that works directly with the IMC objectives.

REFER TO SECTION: Establishing the IMC budget

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Testbank to accompany Festival and Special Event Management by Allen et al.

34. What limitations are associated with the 'top down' methods of determining the IMC budget? Given these limitations, why would such methods be employed?

There are three 'top-down' methods for determining the IMC budget. They are top down in the sense that management fixes an amount to be spent on promotion, without consideration for the IMC objectives. Each method has its limitations: 1. What the event can afford – A figure is decided based on what is thought can be afforded, not based on what is needed to achieve the event’s marketing objectives. It is therefore only tenuously connected to the event's IMC objectives.

2. Percentage of sales method – This method is commonly used in the marketing of fastmoving consumer goods, where the budget for promotion is set at x per cent of the forecast revenue. This method is based on the false premise that sales cause promotion, rather than promotion causes sales.

3. Competitive parity method – This method establishes what other similar events spend on IMC and then bases promotional spend on this figure, and are based on the premise that if the norm for that sector is used, the event is adhering to the collective wisdom of the sector. However, this is based on the assumption that the collective knows what it is doing, and ignores any specific idiosyncrasies of the event that might mean it has different IMC needs.

Despite these limitations, each method provides a quick means of determining the IMC budget, and a way to work within a limited budget that might not fully allow for letting the IMC objectives drive the budgeting process, such as in the objective and task method.

REFER TO SECTION: Establishing the IMC budget 35. What is advertising? In the context of events, what must a successful advertising campaign do?

Advertising is any form of non-personal promotion paid for by the event organisation. Radio, television, newspapers, magazines, websites, social networking sites (Facebook, My Space Twitter, Flickr, YouTube and many others) mobile phones (cell phones), outdoor advertising (billboards, bus shelters and toilets) and mobile platforms such as buses and taxis are all media for advertising.

In creating advertising campaigns for events and festivals, it is necessary to: • Provide tangible clues to counteract the intangible nature of the event — that is, show the artistic event or sports players in action, the event logo, the spectacle of the fireworks and so on.

• Seek continuity over time by using recognisable symbols, spokespersons, trademarks or music — for example, football codes often use the tunes of famous artists, such as We are the champions by Queen • Promise what is possible to foster realistic expectations — for example, show realtime action (it is necessary to take care with promises about ticket availability because they can become contentious) • Make the service more tangible and recognisable by showing members of the target market enjoying the event — for example, the roar and spectacle of a grand final crowd at the football can be very persuasive to the target market of a football event.

REFER TO SECTION: Elements of IMC © John Wiley & Sons Australia, Ltd 2010 12

Chapter 10: Promotion: integrated marketing communication for events

36. In the IMC context, what is public relations? Give an example of how a major sporting event might use public relations to encourage people to attend?

Public relations (publicity) is used to build mutually beneficial relationships with stakeholders and consumers. It uses a wide range of tools, including publicity, special promotional events, community consultation, e-publications and traditional newsletters.

While all activities incur costs, media publicity is often favoured by festival organisers because it provides unpaid space in the media that reaches the event’s market. An advantage to festival and event directors and marketers is that people generally enjoy reading about sport, the arts and entertainment. However, marketers must be aware that the media will use a story only if it has news value (a unique angle or item of information of interest to readers, viewers or listeners). Journalists also carefully assess the structure and style of media releases and the credibility of their source. The ‘Event profile’ demonstrates the advantages of this promotional method.

An interesting example of the use of publicity was the actor Russell Crowe, who is part owner of the South Sydney Rabbitohs National Rugby League franchise, handing out 1000 free tickets to a home game in a Sydney suburb. This action received a front-page story with photo in the Sydney tabloid the Daily Telegraph and gained the club publicity.

FEEDBACK: Note: Students are free to creatively come up with their own examples here.

REFER TO SECTION: Elements of IMC

37. In the IMC context, what is sales promotion? Give an example of how a small multicultural festival might use sales promotion.

Sales promotion consists of those activities that use incentives or discounts to increase sales or attendance. Examples of sales promotion are family days at city shows or exhibitions, offering group discounts or a free ticket for one child. Alternatively, consumers may be offered free merchandise (T-shirts and posters) when purchasing several tickets or more. An example is the Royal Easter Show offering a vacation care program where children on school holidays will be safely entertained by the enjoyment of the Show activities. Another example is the Tix for Next to Nix program at the Sydney Festival.

A small multi-cultural festival might offer family passes, or a children under 5 get in free type deal, to encourage greater family participation.

FEEDBACK: Note: Students are free to creatively come up with their own examples here REFER TO SECTION: Elements of IMC

38. In the IMC context, what purposes do websites serve? What kind of website would you recommend to a small regional community festival?

Websites generally serve one of four purposes or functions. These are: • Offer information about the event to potential consumers; that is, to have an online brochure — brochureware • Provide a forum where potential consumers can interact with the site by asking © John Wiley & Sons Australia, Ltd 2010 13

Testbank to accompany Festival and Special Event Management by Allen et al.

• •

questions of event staff via a contact us page, provision of a frequently asked questions (FAQ) page, provision of a full calendar of event elements — interact using Web 2.0 techniques Provide a platform where consumers can make transactions by purchasing tickets using a credit card and then have the tickets emailed to them — transact Have all aspects of the event management, marketing and production integrated into the website — integration.

The function of the website depends on the type of event. For example a simple community cultural event needs only a brochure website, since creating more complex and functional websites get more and more expensive.

REFER TO SECTION: Elements of IMC

39. What is the key to a successful website? What design principles guide the design of successful websites? List 6 examples.

The key to the success of a website, no matter what function is chosen, is to ensure that the site is simple and easy to use — in other words, that it is user friendly. After the function is chosen, the design or look of the web pages containing the text graphics and other media are selected. They have to be consistent and integrated with all other marketing communications used by the event. While a site might need only a low-level interactivity to suit an event’s needs, it still needs to be integrated with the other non-online communications.

The basic website design principles are as follows: • determine the basic layout of the site so that the various pages are linked in a coherent manner • ensure that the content imagery is consistent with and integrated with any offline marketing communications and consistent throughout the site • make sure that the site is easy to read by using an appropriate font and lots of white space. Use dot points rather than continuous text, and simple colour schemes rather than complex and garish (www.oakbankracingclub.com.au is a good example of these attributes).

• use an easy to understand navigation system (framed or unframed). Use either a side bar or navigation system along the top or bottom of the page, so that viewers know where they are and how to get to the pages they want.

• determine the copy and supporting graphics before posting to the site to ensure that they can achieve the site’s objectives and adhere to the IMC standard • don’t make the text too complex or dense — no viewer enjoys ploughing through hectares of text, except perhaps academics. Lots of white space is easy on the eye and attractive to the viewer.

• don’t use capital text in the copy as it implies SHOUTING • while many texts suggest the use of thumbnail graphics linked to a larger version of the image, the speed of most browsers makes this usually unnecessary for most event websites, especially with the increasing use of broadband connection. However, if a site contains many graphics, the page will certainly load faster with thumbnails. The spread of broadband connections means that many sites now effectively utilise flash animation. © John Wiley & Sons Australia, Ltd 2010 14

Chapter 10: Promotion: integrated marketing communication for events

• • • • • •

ensure that the home page (the first page in the site) can load quickly and is displayed on one or a maximum of two pages provide a clearly signposted ‘contact us’ page give details of the site’s privacy policy to engender confidence in users for transaction sites, provide details of the security system used to ensure that users feel confident about using a credit card for purchases use a URL that is easy to remember, such as www.oakbankracingclub.com.au use the web page production program’s default colours unless there is an aesthetic reason to vary them. For example, web surfers are used to and comfortable with blue for unvisited links, which then change to a darker colour such as purple to indicate a visited link.

FEEDBACK: Note: Students are only required to list 6 of these design principles REFER TO SECTION: Elements of IMC

40. In the IMC context, what is personal selling? Give an example of how a fundraising marathon might use sales promotion?

Personal selling is defined by McCarthy & Perreault (1987) as direct face-to-face communication between a seller and a potential consumer. This form of promotion can occur in the event marketing process when the marketer explains the event and its need-satisfying attributes to either representatives of potential customers or to those customers direct.

Personal selling involves a lecture or presentation to a target market – for example a representative of a community festival addressing a high school assembly or a Rotary Club meeting; or the chief executive of a festival addressing a luncheon of corporate leaders; or a sales person following leads generated from a event’s website of people interested in attending an expensive and exclusive fund raising event.

Personal selling is by far the most expensive of all promotional activities, so needs to be used cautiously. A fundraising marathon could, for example, send a senior representative to talk to local athletic clubs or sporting associations.

FEEDBACK: Note: Students are free to creatively come up with their own examples here.

REFER TO SECTION: Elements of IMC

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Testbank to accompany

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Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2011

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 11: Sponsorship of Events MULTIPLE CHOICE 1.

Which of the following describes the way contemporary marketers relate to their target audience?

a. b. c. d.

Talking at Listening to Taking advantage of Connecting with

ANS: D. Connecting with FEEDBACK: Moderate.

REFER TO SECTION: Introduction 2.

Sponsors see their sponsorship as:

a. b. c. d.

A philanthropic act towards their community A strategic marketing investment A grant / one-off assistance All of the above

ANS: B. A strategic marketing investment FEEDBACK: Moderate.

REFER TO SECTION: What is Marketing 3.

Sponsorship is dominated by:

a. b. c. d.

Music festivals Sport Visual arts Ballet and classical music

ANS: B. Sport FEEDBACK: Easy.

REFER TO SECTION: What is Marketing 4.

Sponsorship of music festivals attempts to connect with people while they are:

a. b. c. d.

Hungry and thirsty Tired and emotional Excited and passionate Spending freely

ANS: C. Excited and passionate FEEDBACK: Easy.

REFER TO SECTION: What is Marketing © John Wiley & Sons Australia, Ltd 2010 2

Chapter 11: Sponsorship of events

5.

A horse feed producer buying the naming rights of an equestrian event is an example of using sponsorship to:

a. b. c. d.

Build an association with a particular lifestyle Entertain clients or reward staff Access a niche market Build brand and product awareness

ANS: C. Access a niche market FEEDBACK: Moderate.

REFER TO SECTION: Sponsorship Benefits for Events and Sponsors 6.

The Commonwealth Bank's sponsorship of the cricket is an example of using sponsorship to:

a. b. c. d.

Build an association with a particular lifestyle Entertain clients or reward staff Access a niche market Build brand and product awareness

ANS: D. Build brand and product awareness FEEDBACK: Moderate.

REFER TO SECTION: Sponsorship Benefits for Events and Sponsors 7.

An energy drinks sponsorship of a music festival is an example of using sponsorship to:

a. b. c. d.

Build an association with a particular lifestyle Entertain clients or reward staff Access a niche market Build brand and product awareness

ANS: A. Build an association with a particular lifestyle FEEDBACK: Moderate.

REFER TO SECTION: Sponsorship Benefits for Events and Sponsors 8.

An insurance company buying a corporate box at a racing carnival is an example of using sponsorship to:

a. b. c. d.

Build an association with a particular lifestyle Entertain clients or reward staff Access a niche market Build brand and product awareness

ANS: B. Entertain clients or reward staff FEEDBACK: Moderate.

REFER TO SECTION: Sponsorship Benefits for Events and Sponsors

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Testbank to accompany Festival and Special Event Management by Allen et al.

9.

In the context of sponsorship benefits, sponsorship leveraging refers to:

a. b. c. d.

Arranging sponsors into a pyramid, with tiers based on resource commitment Using the backing of one sponsor to gain the trust of other sponsors Developing a range of marketing activities that capitalise on the initial sponsorship investment Using sponsorship of one event to promote other events

ANS: C. Developing a range of marketing activities that capitalise on the initial sponsorship investment FEEDBACK: Moderate.

REFER TO SECTION: Sponsorship Benefits for Events and Sponsors 10. Sponsor fit refers to: a. b. c. d.

The degree to which a sponsor's resource commitment matches the event's resource needs How compatible the sponsor and the sponsor's market are with the event and the event's market The degree to which the event's sponsorship benefits match the sponsors needs The degree to which the event's needs match what the sponsor is able to offer

ANS: B. How compatible the sponsor and the sponsor's market are with the event and the event's market investment FEEDBACK: Moderate.

REFER TO SECTION: Sponsorship Benefits for Events and Sponsors 11. The first step in developing a sponsorship strategy is to: a. b. c. d.

Construct a list of potential sponsors Establish what assets the event can offer potential sponsors Match sponsors to event assets Construct a reliable picture of who the event audience is

ANS: D. Construct a reliable picture of who the event audience is FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing a Sponsorship Strategy 12. The second step in developing a sponsorship strategy is to: a. b. c. d.

Construct a list of potential sponsors Establish what assets the event can offer potential sponsors Match sponsors to event assets Construct a reliable picture of who the event audience is

ANS: B. Establish what assets the event can offer potential sponsors FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing a Sponsorship Strategy

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Chapter 11: Sponsorship of events

13. When building the event sponsorship list, a tiered approach: a. b. c. d.

Groups potential sponsors according to type Offers different levels of investment for set benefit packages Allows each sponsor to negotiate a tailored package All of the above

ANS: B. Offers different levels of investment for set benefit packages FEEDBACK: Difficult.

REFER TO SECTION: Stages in Developing a Sponsorship Strategy 14. Many events and festivals adopt a tiered approach to developing sponsors because: a. b. c. d.

If there was only one large sponsor, the future of the event would be threatened if the sponsor pulled-out It is much easier to manage It pulls in more sponsorship dollars All of the above

ANS: A. If there was only one large sponsor, the future of the event would be threatened if the sponsor pulled-out FEEDBACK: Difficult.

REFER TO SECTION: Stages in Developing a Sponsorship Strategy 15. Tailor-made sponsorship packages: a. b. c. d.

Groups sponsors into broad categories Simplifies the presentation of the sponsorship to the audience Gives sponsors greater control over their sponsorship, working with the event as partners All of the above

ANS: D. All of the above FEEDBACK: Difficult.

REFER TO SECTION: Stages in Developing a Sponsorship Strategy 16. Finding a potential sponsor for an event involves finding a company: a. b. c. d.

That wants to connect with the events audience Who shares the event's values That wants to change or strengthen its position in the market All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing a Sponsorship Strategy

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Testbank to accompany Festival and Special Event Management by Allen et al.

17. The key to a successful sponsorship pitch is: a. b. c. d.

Sponsor fit Planning Timing Return on Investment

ANS: B. Planning FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing a Sponsorship Strategy 18. Which of the following is a pitfall that successful sponsorship proposals avoid? a. b. c. d.

Focuses on the sponsor's needs Succinct and to the point Sells the sponsor on the features of the event, such as artistic merit Includes leveraging opportunities

ANS: C. Sells the sponsor on the features of the event, such as artistic merit FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing a Sponsorship Strategy 19. Which of the following is a pitfall that successful sponsorship proposals avoid? a. b. c. d.

Tailors the package to suit the sponsor Focuses on the event's needs and resource short-falls Sells the sponsor on the benefits of sponsorship Explains strategies that minimise risk and guarantee returns

ANS: B. Focuses on the event's needs and resource short-falls FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing a Sponsorship Strategy 20. Often organisations will apply a screening process to sponsorship proposals in order to: a. b. c. d.

To determine which event organisations are professional enough to enter into a sponsorship partnerships with To determine whether a proposal promises the benefits they are looking for To determine which event organisations have a proven track record with managing sponsorship partnerships To determine whether a proposal is within the means of their marketing budget

ANS: B. To determine whether a proposal promises the benefits they are looking for FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing the Event Sponsorship Strategy

© John Wiley & Sons Australia, Ltd 2010 6

Chapter 11: Sponsorship of events

21. An understanding of the screening process organisations use in sorting through sponsorship proposals is useful to the event manager because: a. b. c. d.

It signposts potential loopholes to slip weaker proposals through It helps refine the event organisation's sponsorship objectives It assists the event manager craft successful sponsorship proposals All of the above

ANS: C. It assists the event manager craft successful sponsorship proposals FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing the Event Sponsorship Strategy 22. If the cost of a print based advertisement that reaches 10 000 people is $800, and it needs a frequency of 3 times to be effective, the value of an event sponsorship that reaches the same size target market should be: a. b. c. d.

$800, with a commitment to sponsor at least 3 festivals No more than $2400, given the complexities of event sponsorship Exactly $2400, to reflect market parity At least $2400, given the other advantages associated with sponsorship

ANS: D. At least $2400, given the other advantages associated with sponsorship FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing the Event Sponsorship Strategy 23. A sponsorship contract: a. b. c. d.

Sets out the payment amount, terms, and schedule Establishes the obligations of both the sponsor and the event organisation Ensures category exclusivity is protected All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing the Event Sponsorship Strategy 24. In a practical sense, a sponsorship contract: a. b. c. d.

Establishes the ground rules for the ongoing working relationship between the sponsorship partners Ensures there are no misunderstandings about the event assets and benefits being offered, their costs and payment terms Details how either party might terminate the arrangement All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Stages in Developing the Event Sponsorship Strategy

© John Wiley & Sons Australia, Ltd 2010 7

Testbank to accompany Festival and Special Event Management by Allen et al.

25. Sponsorship management plans: a. b. c. d.

Identify the objectives the sponsorship will achieve for the sponsor Identify the benefits that have been promised and the costs associated Outline a timeline for delivery of the activities outlined in the sponsorship All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Managing Sponsorships 26. In terms of sponsorship management plans, which of the following is true with respect to the sponsorship objectives? a. b. c. d.

The event organisation should avoid getting bogged down in measuring the success or otherwise of objectives The event organisation should measure the success of those objectives that can be measured, but not that of those that can not Take efforts to articulate objectives in such a way that their success or otherwise can be measured All of the above

ANS: C. Take efforts to articulate objectives in such a way that their success or otherwise can be measured FEEDBACK: Moderate.

REFER TO SECTION: Managing Sponsorships 27. Which of the following is not considered in the evaluation of sponsorship? a. b. c. d.

The effectiveness of the event partnership The role of the event and the sponsor within the partnership The market impact of alternative strategies The consumer-related objectives set by the sponsor

ANS: C. The market impact of alternative strategies FEEDBACK: Difficult.

REFER TO SECTION: Managing Sponsorships 28. The evaluation of sponsorship impact on consumers: a. b. c. d.

Often receives less attention than the effectiveness of the sponsorship partnership Often receives less attention than the effectiveness of alternative marketing strategies Often receives less attention than it should and is likely to in the future All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Managing Sponsorships

© John Wiley & Sons Australia, Ltd 2010 8

Chapter 11: Sponsorship of events

29. A principal sponsor is: a. b. c. d.

The sponsor who came on board first The sponsor who has contributed the most resources The sponsor who plays a leadership role in managing the event The sponsor who is most integral to the event's success

ANS: B. The sponsor who has contributed the most resources FEEDBACK: Moderate.

30. In the context of events, naming rights are: a. b. c. d.

The right to have the sponsor's name associated with the event The right to have the sponsor's name listed in the list of event sponsors The right to have the sponsors brand 'built in' to the name of the event itself The right to name the event in a way that subtly synergies with the sponsors marketing strategy

ANS: C. The right to have the sponsors brand 'built in' to the name of the event itself FEEDBACK: Moderate.

© John Wiley & Sons Australia, Ltd 2010 9

Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY QUESTIONS 31. What has driven the shift in marketing from traditional media to event sponsorship?

The growth of sponsorship can in part be attributed to changes in marketing itself — with the shift away from simple transactions to relationship building between the firm and its customers. New trends in marketing communication media give event sponsors the chance to interact directly with their markets to create a brand relationship. Simultaneous brand exposure can be achieved through a range of on-site communication and alternative media. Sponsors are getting extra exposure, for example, as a result of live streaming events onto the internet, text messages, sponsorship of live sites away from the event and giant screens at festivals that display text and photo messages from the crowd responding to billboard ads.

Sponsorship is also gaining an increasing share of most marketers’ toolkits because consumers are more cynical about traditional advertising. Sponsorship is perceived to be a more effective and efficient promotional method. When sponsorship is perceived to be a commercial activity with some benefit to society, consumers view advertising as being more manipulative with far less social value (Meenaghan 2001b).

The shift from traditional media by marketers to event sponsorship is also a result of: • The rising costs of media space and the perceived reduced effectiveness of advertising — many consumers now simultaneously use multiple media, such as television, the internet, mobiles and text messaging, and social networking sites • A growth in the overall number of media outlets (including pay and digital television channels, digital radio stations, specialist magazines, direct mail pieces and the internet) with media advertising becoming extremely cluttered.

• The expansion of pay and free to air television channels (satellite, cable, and digital) and their subsequent need for program material. Events, especially sports events, have thus had more opportunity to be televised, enhancing exposure opportunities available to event sponsors.

• The globalisation and commercialisation of sport as both amateur and professional sports offer more opportunities for organisations to engage in sponsorship of events that have huge television audiences • A proliferation of brands, products and services offered by fewer manufacturers/ providers.

Companies, therefore, may choose to improve their relationships with their distributors with event-related entertainment and hospitality.

• The relative inability of mass media to target a desired particular market segment, making the promotion not as effective as more tightly targeted promotions.

REFER TO SECTION: Trends Influencing the Growth in Sponsorship

32. How do corporate sponsors benefit from sponsorship? Give five examples.

There are an array of marketing benefits of event and festival sponsorship gained by corporate sponsors. These benefits are: • Access to specific niche/target markets. Some events supply an effective and efficient medium for a firm to communicate with potential consumers.

• Corporate brand image creation/enhancement. For major service providers like banks and telephony companies, the lack of a tangible product complicates the task of brand imaging. © John Wiley & Sons Australia, Ltd 2010 10

Chapter 11: Sponsorship of events

• • •

• • • • •

•

Sponsorship of festivals and events is therefore a valuable form of corporate image enhancement.

Building brand awareness for an organisation and its services/products Influencing consumer attitudes about a product or service brand. Some companies use sponsorship as a strategy to change consumer perceptions about a longstanding brand.

Associating a product or service with a particular lifestyle. A sponsor in 2007 of one of Australia’s leading youth music festivals, the Big Day Out in Sydney, was New South Wales Health, a governmental body, with a pertinent message on drug use aimed at the event’s target market.

Improving relationships with distribution channel members. A corporation may be seeking to develop stronger relationships with agents or firms that currently distribute its products, or to establish new distribution outlets.

Achieving product sales and merchandising opportunities.

Demonstrating product attributes. Festivals and events can be used by sponsors to demonstrate new products or technology.

Providing employee rewards and recognition. Organisations often perceive the sponsorship of a sports or cultural event as a way of giving their employees access to a corporate box and/or tickets to reward or motivate them.

Creating goodwill and a climate of consent for an organisation’s activities. Companies as diverse as airlines, mining organisations, energy providers, banks and pharmaceutical manufacturers all support charity events to create an image in the community of being good corporate citizens.

Entertaining key clients with corporate hospitality. Corporate hospitality is an important drawcard for sponsors, especially those with business-to-business clients. Every major sports or cultural event is replete with corporate boxes, where the sponsoring organisation has opportunities to entertain key clients in an informal and enjoyable environment.

FEEDBACK: Note: Students only have to provide 5 examples REFER TO SECTION: Sponsorship benefits for Events and Sponsors

33. What kinds of questions should an event organisation ask itself before it seeks sponsorship as a revenue stream?

Many event managers assume sponsorship is an appropriate source of income for their event, but confuse it with philanthropy. There are questions that an event manager should ask before seeking sponsorship as a revenue stream: • Does the event have sufficient rights or benefits that can be offered to sponsors?

Organisations must be able to recognise the potential of the event to achieve their marketing objectives, such as image enhancement or the development of stronger relationships with suppliers/buyers. If the desired benefits are not present, an event manager would be wasting his or her time in seeking income from this source. A better alternative in some instances may be to seek a donation.

• Are the event’s stakeholders likely to approve of commercial sponsorship? It is not hard to imagine situations where some members of a particular association or the potential event audience might view commercial sponsorship negatively. In effect, broad support among the event’s internal stakeholders is essential for sponsorship to be successful.

• Is the target market of the event congruent with the target market of the sponsor? In order for the sponsorship to be able to deliver benefits to a sponsor, the target markets must be congruent. © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management by Allen et al.

• •

Are there some companies that are simply not suitable as sponsors? Event managers need to identify organisations that are inappropriate as sponsorship partners.

Does the event have the resources and skills to market and manage sponsorship? A considerable amount of time and effort is required to research, develop and market sponsorships to potential sponsor targets. Furthermore, sponsorship must be managed after the contract is finalised to ensure all promises made in the proposal are fulfilled. This involves allocating staff and other resources to building and sustaining the sponsor relationship.

REFER TO SECTION: Sponsorship benefits for Events and Sponsors

34. During summer there will be an outdoor cinema in the botanic gardens, playing a range of endearing and well-crafted films. What benefits might the event offer to potential sponsors?

Despite the variation in the size and scope of different events and festivals, there are some common assets – defined as benefits that the property can offer the sponsor. In the context of an outdoor cinema, these include: • the agreement to purchase product/services from a sponsor (for example, alcohol at the cinema's kiosk) • event naming rights – to mention the sponsor every time the event mentions its name • exclusivity (the capacity to lock out competition within a brand category). For example, only having one hardware sponsor of the cinema.

• business and sponsor networking opportunities – for example, having a gala opening where business and political leaders will be present.

• merchandising rights – for example, the right to brand a souvenir stuffed animal sold at the cinema • media exposure, including advertising opportunities during screenings • venue signage • joint advertising with sponsors • the capacity to demonstrate their product or technology at the event – mobile phone technology for example • corporate hospitality services, having corporate boxes at the cinema, with meal options • tickets for the sponsor’s use.

REFER TO SECTION: Stages in Developing the Event Sponsorship Strategy

35. What are some of the advantages of using tailor-made sponsorship packages?

The use of tailor-made sponsorship packages rather than using a template that is sent to all and sundry has a number of advantages: • Packaged event properties are rarely a perfect fit for potential sponsors — most are either too broad or too narrow in their consumer reach and the rights available may be either more or less than the sponsor wants.

• Sponsors are often seeking more control over their sponsorship and its potential leveraging than packaged strategies offer — the simple transactional nature of buyer–seller arrangements is being replaced by partnerships and, in some cases, the sponsor clearly has leadership in driving the relationship. © John Wiley & Sons Australia, Ltd 2010 12

Chapter 11: Sponsorship of events

•

•

Poor sponsorship packaging by events and festivals can lead to a greater instance of ambush marketing in certain industry/product categories (for example, banking and finance), or attempts by non-sponsoring companies to capitalise on an event’s image and prestige by implying that they are sponsors.

Multiple layers of sponsorship introduced by events can cause confusion among audiences and sponsors — as the different sponsorship categories become more prolific, there is more potential for a loss of control by event organisers and sponsor conflicts.

REFER TO SECTION: Stages in Developing the Event Sponsorship Strategy

36. What benefits does sponsorship of the arts offer organisations?

Sponsorship of arts events has the following benefits for sponsors: • It has the ability to attract key decision makers to the event. Many people in executive positions are interested in the arts and women executives are more likely to accept an invitation.

• The arts and the organisations that sponsor them find favour with politicians, as government support for artistic endeavours attests.

• The goodwill created from sponsorship is much greater if the audience believes that the sponsor is making a particular contribution that enables the event to occur, rather than merely supporting • an event that would have happened without the sponsorship.

• Many events, particularly creative arts events, generate media attention because they fulfil the first criterion for news — they are new — so a sponsor can be associated with good news stories.

• The twenty-first century will see companies valued because of their innovation and creativity; therefore, associating via sponsorship with innovative and creative arts events may help give them an image of innovation and being leading edge in technological innovation.

REFER TO SECTION: Stages in Developing the Event Sponsorship Strategy

37. What is the value in committing a sponsorship agreement to paper in the form of a contract? What does a contract normally include?

It is standard business practice to commit the sponsorship agreement to paper to avoid misunderstandings about the event property’s assets and benefits being offered, their costs, payment terms and the responsibilities of both parties. With large-scale events, a contract is essential to ensure the obligations of both the event organiser and sponsor are met and that category exclusivity for the sponsor is protected to discourage ambushers.

The content of a contract usually includes: • the objectives and responsibilities of both parties • benefits to be obtained by the event and the sponsor • termination conditions • ambush marketing protection • details of media, branding and leveraging • the promised exclusivity © John Wiley & Sons Australia, Ltd 2010 13

Testbank to accompany Festival and Special Event Management by Allen et al.

• •

marketing and sponsor servicing insurance and indemnity requirements.

REFER TO SECTION: Stages in Developing the Event Sponsorship Strategy

38. What techniques can be used for effective sponsorship management? Give 5 examples.

A number of suggestions and techniques can be adopted to ensure positive and enduring relations are developed with sponsors: • One contact. One person from the event organisation needs to be appointed as the contact point for the sponsor. That person must be readily available (a mobile phone number helps), have the authority to make decisions regarding the event and be able to forge harmonious relationships with the sponsor’s staff.

• Understand the sponsor. A recommended method of maintaining harmonious relationships is to get to know the sponsor’s organisation, its mission, its staff, its products and its marketing strategies. By doing this, it becomes easier to understand the needs of the sponsor and how those needs can be satisfied.

•

•

• •

•

•

•

•

Motivate an event organisation’s staff about the sponsorship. Keeping staff informed of the sponsorship contract, the objectives of the sponsorship and how the sponsor’s needs are to be satisfied will help ensure the sponsorship will work smoothly and to the benefit of both parties.

Use of celebrities associated with the event. If the event includes the use of artistic, sporting or theatrical celebrities, ensure sponsors have an opportunity to meet them in a social setting. Most people enjoy immensely the opportunity to tell anecdotes about their brush with the famous.

Acknowledge the sponsor at every opportunity. Use all available media to acknowledge the sponsor’s assistance. Media that can be used include the public address system at a local festival, newsletters, media releases, annual reports and staff briefings.

Sponsorship launch. Have a sponsorship launch to tell the target market about the organisations and agencies that will sponsor the event or festival. The style of the launch depends on the type of sponsorship and the creativity of the event director. Finding an innovative angle to draw media coverage is valuable.

Media monitoring. Monitor the media for all stories and commentary about the event or festival that include mention of the sponsor (a media monitoring firm may be contracted to perform this task). This shows the sponsor that the event takes a serious interest in the sponsorship and is alert to the benefits the sponsor is receiving.

Principal sponsor. If the event has many sponsors, ensure the logo of the principal sponsor (that is, the sponsor who has paid the most) is seen on everything to do with the event, including stationery, uniforms, flags, newsletters, stages and so on. Usually, this requirement will be spelt out in legal agreements, but it is important to add value for the principal sponsor wherever it is possible.

Naming rights. If the event has given naming rights to a sponsor, it has an obligation to ensure these rights are used in all communications employed by the event organisation. This includes making every endeavour to ensure the media are aware of, and adhere to, the sponsored name of the event. Sometimes this is difficult, but it must be attempted so the event holds up its side of the deal.

Professionalism. Even though volunteers may be involved in the management of many events, this does not mean that staff can act like amateurs. Sponsors expect to be treated © John Wiley & Sons Australia, Ltd 2010 14

Chapter 11: Sponsorship of events

• •

efficiently and effectively, with their reasonable demands met in a speedy manner.

Sponsorship is a partnership and loyalty to that partnership is often repaid with an ongoing investment.

Undersell and over-deliver. Do not promise what cannot be delivered. Be cautious in formulating the proposal and then ensure the expectations raised by the sponsorship agreement are met and, ideally, exceeded.

Protect the sponsor from ambush marketing. Avoid wherever possible giving opportunities for ambush marketing by the sponsor’s competitors; that is, a competitor undertakes promotional activities around the event without paying sponsorship fees.

FEEDBACK: Note: Students only have to provide 5 examples REFER TO SECTION: Managing Sponsorships

39. What is a sponsorship management plan? What do they do?

Once the sponsorship contract has been signed, it is good practice to construct a sponsorship management plan (or action plan) to operationalise the agreement. At its most basic, this plan should: 1. Identify what objectives the sponsorship will achieve for the sponsor and the benefits that have been promised. Objectives associated with any given event sponsorship will be tailored to the needs of that partnership, but they should be specific to the sponsorship, measurable in that the success or otherwise of the sponsorship can be established, agreed to by the person responsible for carrying out the plan, realistic in that while perhaps challenging, the objectives can be achieved under normal circumstances, and have a timeframe in which the objectives have to be achieved.

2. Identify costs associated with providing specified benefits. A budget needs to present all costs and show those costs in the context of the overall value of the sponsorship. However, in many cases, particularly smaller events such as conferences or community festivals, the benefits that accrue to the sponsor cost the event practically nothing, except for the management time of ensuring what was promised is delivered.

3. A list of actions necessary to fulfil the sponsorship. This specifies what needs to be done, when it is to be done, and who is responsible.

4. Review and evaluation approaches. An evaluation and review process needs to be built into the sponsorship management plan. The review process should be ongoing and act to identify and address any problems that could affect sponsorship outcomes. Evaluation is concerned with providing a clear understanding of how the sponsorship performed against the objectives that were set for it. Evaluation also gives the partners the chance to finetune the sponsorship arrangements, so both parties are well placed to renew the partnership in subsequent years.

5. A timeline for activities that need to be conducted to deliver on the sponsorship.

REFER TO SECTION: Managing Sponsorships

© John Wiley & Sons Australia, Ltd 2010 15

Testbank to accompany Festival and Special Event Management by Allen et al.

40. What techniques exist to measure the e-activity generated by sponsorship of an event?

Given the ubiquity of e-marketing, there are many techniques that can be used to measure the eactivity generated by sponsorship of an event.

• Provided the sponsor has an email database of its customers (as it should), it can survey a sample of them pre- and post-event to measure changes in brand awareness, sponsorship association, brand favourability and intent to purchase.

• If the sponsorship includes an advertisement on the event’s website (as it should) the clickthrough rate (CTR) can easily be measured by the event. This is the ratio between the number of visitors to the event’s website and the number who clicked on the sponsor’s ad, which would take them to the sponsor’s website. Obviously the higher the ratio, the better for the sponsor.

• If a viral marketing campaign is used as part of the sponsorship leverage strategy (forward to a friend links that incorporate some aspect of the event sponsorship), the number of times this occurs can be measured.

• Count visits to web pages in the sponsor’s website that feature event-related activities, such as contests, opportunities to win tickets and chances to meet the event celebrities.

REFER TO SECTION: Measuring and Evaluating the Sponsorship

© John Wiley & Sons Australia, Ltd 2010 16

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2011

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 12: Sustainable Event Management MULTIPLE CHOICE 1.

Sustainable development can be defined as:

a. b.

Ensuring that future generations enjoy the same standards of living that we do Meeting the needs of the present without compromising the ability of future generations to meet their own needs Fixing standards of living at 2000 levels All of the above

c. d.

ANS: b. Meeting the needs of the present without compromising the ability of future generations to meet their own needs FEEDBACK: Easy.

REFER TO SECTION: Introduction 2.

The rapid 'Greening' of the events industry has been driven by:

a. b. c.

Audiences who are more aware of sustainability issues and expect more from events Governments who regulate events Clients and sponsors who are more conscious of the sustainability of the events that they are involved with All of the above

d.

ANS: d. All of the above FEEDBACK: Easy.

REFER TO SECTION: Introduction 3.

In creating a sustainable event, purchasing is important because:

a. b. c. d.

Events generally enjoy economic leverage over their suppliers An event's purchasing policy is easily communicable to the event's audience A lot of 'stuff' is needed in the production of events and much of it has once-only use Purchasing is the only way event organisations have to 'green' their event

ANS: c. A lot of 'stuff' is needed in the production of events, and much of it has once-only use FEEDBACK: Easy.

REFER TO SECTION: The Environmental Impacts of Event Production

© John Wiley & Sons Australia, Ltd 2011 2

Chapter 12: Sustainable event management

4.

In the context of sustainable events, a closed loop system is when:

a. b. c. d.

Everything is produced in-house and to sustainable standards All outputs of the event bio-degrade within a reasonable time The source of all inputs is known and certified The materials produced during an event are used in the production of something else

ANS: d. The materials produced during an event are used in the production of something else FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 5.

There is a direct link between consumption and climate change only if:

a. b. c. d.

People consume more each year Consumption generates unusable waste People consume more than they need The inputs of the consumption good originate in fossil fuels

ANS: b. Consumption generates unusable waste FEEDBACK: Difficult.

REFER TO SECTION: The Environmental Impacts of Event Production 6.

A green purchasing policy:

a. b. c. d.

Is a detailed set of rules that guide the event's use of resources Contains broad visions and commitments to the event's role in preserving the environment Is most useful to organisations with a low staff turnover All of the above

ANS: a. Is a detailed set of rules that guide the event's use of resources FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 7.

A green purchasing policy often contains a commitment to purchasing locally as a first choice because:

a. b. c. d.

Many overseas countries have much lower environmental standards There is a carbon cost to the fuel used to transport goods long distances Positive change in environmental policy is easier when the domestic economy is strong All of the above

ANS: b. There is a carbon cost to the fuel used to transport goods long distances FEEDBACK: Difficult.

REFER TO SECTION: The Environmental Impacts of Event Production

© John Wiley & Sons Australia, Ltd 2011 3

Testbank to accompany Festival and Special Event Management by Allen et al.

8.

For indoor events, big gains can be made in reducing energy impacts by:

a. b. c. d.

Putting programs in place to reduce demand for power, particularly by third parties Choosing a 'sustainable' or certified energy efficient venue Requesting the venue use a renewable energy supplier All of the above

ANS: d. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 9.

Mobile solar power generators normally come with their own sound and lighting equipment because:

a. b.

Most are built for the American market and so have their own unique specifications Solar generators can only be used outside and during the day where there are specific sound and lighting requirements Normal sound and lighting equipment may be too power consuming to run effectively with the system All of the above

c. d.

ANS: c. Normal sound and lighting equipment is too power consuming to run effectively with the system FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 10. In the context of events, for every tonne of waste at the end of a product's life-cycle, how much extra waste is produced during the products journey from raw material, manufacturing, distribution and sale? a. b. c. d.

4 tonnes of waste 17 tonnes of waste 36 tonnes of waste 71 tonnes of waste

ANS: d. 71 tonnes of waste FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 11. Sustainable waste management in event production focuses on: a. b. c. d.

The goal of zero waste Preventing waste from being generated Predefining how every waste stream will be captured and processed All of the above

ANS: d. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production © John Wiley & Sons Australia, Ltd 2011 4

Chapter 12: Sustainable event management

12. The majority of waste at many events is: a. b. c. d.

Packaging Food waste Paper waste Drink bottles

ANS: a. Packaging FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 13. An event's waste management strategy focuses on: a. b. c. d.

Waste generated in the production process Waste created during the event by participants Waste brought to the festival site by participants All of the above

ANS: d. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 14. Waste generated during an event will be: a. b. c. d.

Sent to landfill Recycled Composted Any or all of the above

ANS: d. Any or all of the above FEEDBACK: Easy.

REFER TO SECTION: The Environmental Impacts of Event Production 15. Recycling bins should always be grouped with general waste bins: a. b. c. d.

To minimise the land area given over to bins Because people will contaminate the recycling bins To remind people of the importance of recycling every time they throw something away To cement the event's Green credentials

ANS: b. Because people will contaminate the recycling bins , (people will ignore the recycling signage if not next to a general waste bin) FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production

© John Wiley & Sons Australia, Ltd 2011 5

Testbank to accompany Festival and Special Event Management by Allen et al.

16. It is important that bio-degradable waste does not end up in landfill because: a. b. c. d.

It has the potential to contaminate the landfill site There are regulations about what landfill sites will accept It will create methane, a potent greenhouse gas Because it is impossible to know what contains GMOs and what doesn't

ANS: c. It will create methane, a potent greenhouse gas FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 17. It is a good idea to set up a salvage bay at an event: a. b. c. d.

To collect materials that can be easily re-used To collect materials that can be easily re-purposed To encourage people to think about the life-cycle of the materials they are using All of the above

ANS: d. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 18. At an event, waste volunteers are teams that: a. b. c. d.

Collect rubbish from particular sites of the event Sort event waste into landfill, recyclable and reusable Are positioned near bins to assist people in the correct separation of waste Help police the material use and waste practices of the various stalls

ANS: c. Are positioned near bins to assist people in the correct separation of waste FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 19. It is most likely that the largest carbon impact from an event will come from: a. b. c. d.

Energy use Waste Water Transport

ANS: d. Transport FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production

© John Wiley & Sons Australia, Ltd 2011 6

Chapter 12: Sustainable event management

20. Of the environmental impact arising from transport for the event, the biggest contributor will be the transport of: a. b. c. d.

People Supplies and infrastructure Equipment Waste

ANS: a. People FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 21. An event's water will come from: a. b. c. d.

Tankers Mains water The storage of harvested water Any or all of the above

ANS: d. Any or all of the above FEEDBACK: Easy.

REFER TO SECTION: The Environmental Impacts of Event Production 22. For an event, sustainable water management is about: a. b. c. d.

Water conservation Emissions to water Waste water management All of the above

ANS: d. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Environmental Impacts of Event Production 23. When considering sustainable water and sanitation for an event, grey water refers to: a. b. c. d.

Waste water let sink into the ground through soak-aways The waste water from showers or other washing operations Sewage and catering sullage Waste water deemed to be a bio-hazard

ANS: b. The waste water from showers or other washing operations FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production

© John Wiley & Sons Australia, Ltd 2011 7

Testbank to accompany Festival and Special Event Management by Allen et al.

24. When considering sustainable water and sanitation for an event, black water refers to: a. b. c. d.

Waste water let sink into the ground through soak-aways The waste water from showers or other washing operations Sewage and catering sullage Waste water deemed to be a bio-hazard

ANS: c. Sewage and catering sullage FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 25. When considering sustainable water and sanitation for an event, catering waste can be treated as grey water if: a. b. c. d.

It is purified with chemical additives Any solid matter is caught through straining and the water is filtered Only organic, phosphate-free detergents are used If it is stored for 24 hours before use

ANS: b. Any solid matter is caught through straining and the water is filtered FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 26. The most sustainable option for dealing with grey water is to: a. b. c. d.

Let it flow into the nearest water system Treat and recycle it on site Pump it into tanker trucks to be taken for treatment Store it in a specially designed dam

ANS: b. Treat and recycle it on site FEEDBACK: Moderate.

REFER TO SECTION: The Environmental Impacts of Event Production 27. An event's Key Sustainability Indicators are: a. b. c. d.

The relevant industry guidelines on environmental protection The qualitative assessments of the event's environmental impact The quantitative performance measures used to assess the event's environmental impact The subjective assessments of an event's own performance

ANS: c. The quantitative performance measures used to assess the event's environmental impact FEEDBACK: Moderate.

REFER TO SECTION: Best Practice, Certification, Measurement

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Chapter 12: Sustainable event management

28. The events industry is currently characterised by: a. b. c. d.

An active resistance to regulate and control the environmental practices of the industry A recent emergence of green certifications and the rapid spread of sustainability principles Public enthusiasm for sustainability principles, although the events industry remains slow to respond An in-principle commitment to sustainability, although there has been little real action

ANS: b. A recent emergence of green certifications and the rapid spread of sustainability principles FEEDBACK: Moderate.

REFER TO SECTION: Sustainable Events 29. The International Olympic Committee (IOC): a. b. c. d.

Has always been at the vanguard of embracing sustainability principles Has broadly kept pace with societal changes in attitudes towards sustainability Has been slow to follow broader public attitudes towards the importance of sustainability Has consistently opposed pressure to include sustainability principles in their planning

ANS: c. Has been slow to follow broader public attitudes towards the importance of sustainability FEEDBACK: Moderate.

REFER TO SECTION: Sustainable Events 30. The current challenge for the Olympics and the IOC is: a. b. c. d.

How to sell the principles of sustainability to the public How to manage the sustainability aspirations of the host countries to keep a lid on costs How to ensure the host countries can deliver on IOC sustainability principles, once the event is out of the IOC's hands How to stop the public appetite for greener events from waning

ANS: c. How to ensure the host countries can deliver on IOC sustainability principles, once the event is out of the IOC's hands FEEDBACK: Moderate.

REFER TO SECTION: Sustainable Events

© John Wiley & Sons Australia, Ltd 2011 9

Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY 31. How does an event's purchasing policy contribute to its environmental sustainability?

The impacts of purchasing and resource use are a major factor in the overall sustainability of an event. Often an enormous amount of ‘stuff’ is needed to build and implement most events, and a lot of this has a once-only use. The right choices in the daily purchasing and contracting decisions during the preproduction and planning phase of an event can lead to a considerable reduction in impact. The overarching concerns in procurement are the sourcing of materials, the manufacture of products, the distance freighted and the consequential waste that may be produced if disposal is necessary.

Using recycled or recyclable materials, re-using equipment and materials, and repurposing rather than discarding are all ways to reduce the environmental impacts of event procurement. ‘Closed loop’ systems are the aim — where one material feeds into the production of another. This can be either within your event, or through external processing by third parties. Choosing organic, buying fair trade, buying locally and using products with low carbon footprints are also steps to be taken.

The materials and supplies purchased, especially those with one-way and shortlived expected use, affect the potential for a sustainable event. Events can consider the environmental and social impacts of purchasing, such as: • • • • • •

the product’s life cycle from extraction or growing of raw materials through to manufacture the impact on the community of growing, extraction and manufacture (social, economic and environmental) the distance raw materials and products travel to get to the end user fair payment and conditions for workers and producers if purchases for the event will unnecessarily deplete natural resources and cause pollution ‘ green-washing ’ . To investigate claims such as ‘eco’, ‘natural’, ‘biological’ and ‘green’ and by asking questions if claims are vague or have no certification.

FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production 32. What sustainable options are available to events that must use mobile power?

Many events will use mobile generators to supply power. Most generators run on mineral diesel, a non-renewable and polluting fuel. When looking to reduce energy demand on diesel generators, the only way this can really translate to reduced emissions is to reduce the size (kVA) of a generator or the actual number of generators used.

Rather than using mineral diesel, sustainably fuelled generators are available in many countries.

Look for generators that use waste vegetable oil biodiesel or cropgrown biodiesel that are certified sustainable. Pay attention to the quality of biodiesel and ensure it meets ISO 14214, so that you don’t get back-yard biodiesel and inferior performance. Pure vegetable oil generators may also be available.

FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production © John Wiley & Sons Australia, Ltd 2011 10

Chapter 12: Sustainable event management

33. Why is waste management important in the production of sustainable events?

Waste creation is the most visible impact of almost every event; however, many systems have been established and proven to manage waste effectively — ensuring minimal waste ends up in landfill — and reduce the amount of waste produced in the first place.

No matter the event size, waste management strategies are often similar and moving an event towards zero waste should be the goal. Zero waste may seem impossible, but having this as an underlying premise will move an event quickly from a mountainous landfill footprint to maximum diversion. Thinking of ways to prevent waste being created and to predefine how every waste stream will be captured and processed is the key to success.

Reducing the amount of ‘stuff’ can also have a retrospective waste-reducing effect. For every tonne of end-of-life-cycle waste, approximately 71 tonnes of waste is produced during the original product’s journey from raw material to manufacturing, distribution and sale.

It should be noted that waste creation also has a direct climate change impact. There is embedded energy in every single item that ends up in landfill — a legacy of mining, growing, manufacture, transport, consumption and disposal. There is also a direct emissions factor applied to treatment of every tonne of waste. So for the total volume of waste put into landfill or incineration by an event, a CO2 figure can also be calculated and should be added to the event’s overall carbon calculations.

FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production

34. How can waste prevention techniques assist an event's sustainability efforts?

If what type of waste could be created can be predicted, it is possible to put procedures and regulations in place to minimise or prevent it occurring in the first place. Interventions to prevent waste being created can include: • • • • • • • • •

Hire, don’t buy.

Have a ‘No Plastic Bag’ policy. Encourage traders to sell or give away re-usable shopping bags.

Have a water bottle-free event. Use refillable cups and bottles only.

Restrict single-serve sachets and straws, and discourage individually pre-wrapped food items.

Use biodegradable takeaway food packaging only and collect it for composting.

Restrict handouts of brochures, showbags, sample sizes and freebie promotional items.

Go electronic. Send programs via bluetooth or supply materials on a thumb drive.

Use a paperless ticketing and registration system.

Create vendor and sponsor contracts. Write restrictions into contracts and look to include clean pitch bonds, refundable post event.

FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production

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Testbank to accompany Festival and Special Event Management by Allen et al.

35. Why is it important to know what the materials recovery facility will accept?

Once separated from general waste, in most circumstances mixed recycled materials are taken to a materials recovery facility (MRF) where there are electronic and mechanical systems in place to separate all the recyclables into single types and contaminants picked out. Some MRFs are council run, others are privately owned, and the technology and investment in infrastructure varies, which means each MRF will have different lists of what can be recycled there. Some will take plastic drink bottles, but not milk bottles. Only some can take Tetrapak. Most MRFs don’t want plastic bags, and require waste to be loose rather than bagged.

It is important to find out how waste will be treated and what can be accepted at the chosen processing facility, so that the waste can be managed at the event appropriately before being sent to the MRF. There is no use putting in the effort of recycling at the event if it is all rejected once it gets to the MRF. FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production

36. How can an event manager ensure that biodegradable waste is managed sustainably?

Events with takeaway food services will have the potential to create a large volume of biodegradable waste. Apart from plates, bowls, cutlery and cups, there will also be catering kitchen waste and food scraps.

To capture and treat this waste appropriately a third bin is needed for the biodegradable food packaging, food scraps and catering waste. If biodegradable waste makes its way to landfill it will create methane — a greenhouse gas many times more potent than CO2 . The aim is to collect biodegradable waste and send it for composting or conversion into biogas, depending on facilities available nearby the event.

It should not be left to the waste contractor to work out where biodegradable waste will end up.

Insist on knowing where it will be processed, what level of contamination is acceptable, what the actual process the waste will go through, and what will be done with the compost on completion.

FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production

37. How can participants be incentivised to recycle?

To increase the profile of the event’s waste and recycling activities, setting up a special waste station and incentivising the audience to participate will elicit a good result. Deposits can be charged on all drinks sold and refunds given when bottles, cans or cups are returned. Campers at festivals can be rewarded for bringing back bags of separated recycling.

FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production

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Chapter 12: Sustainable event management

38. How can participants be encouraged to use public transport?

The success of public transport campaigns for any event relies on the ease, regularity, convenience and smooth running of the systems put in place. Sometimes this is out of the control of the event organiser, who needs to rely on existing networks and infrastructure. They can ensure, however, that links are set up between transport hubs and the event location, and that they incentivise the uptake of public transport over driving.

Other steps that can be taken to encourage public transport include: • • • • • • •

Analyse audience transport habits to create the best transport plan to encourage public transport uptake.

Hold the event near a public transport hub.

Provide free and conveniently timed shuttle buses to ‘join the dots’, with capacity to meet demand and ensure minimal waiting.

Promote the existence of public transport options by providing timetabling and location details.

Offer rewards or incentives to those that use public transport.

Bundle ticket sales with public transport options.

Require that car parks are booked in advance and charge a fee to discourage driving.

FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production

39. How can participants be encourage to save water?

Events held in existing venues will not have control over implementing new water systems; however, choosing the right venue in the first instance is something that can be controlled.

Regardless of the venue, implementing a water conservation campaign by layering a messaging program over existing infrastructure will be effective.

Outdoor events where water systems exist or need to be put in place have more options to reduce water consumption. Mechanical intervention to reduce water pressure, auto shut-off taps and low flow taps are examples of what can be done.

Other water saving strategies include: • • • • • • • •

Ensure water-saving devices are on taps, hoses, showers and drinking water standpipes.

Reduce water usage through ‘water wise’ grounds preparation and gardening.

Use dust suppressant additives to reduce water volume used on dampening dust.

Capture water and store in rain water tanks.

Use waterless urinals and toilets.

Reduce water pressure.

Supply water-free hand sanitiser Conduct water conservation messaging.

FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production © John Wiley & Sons Australia, Ltd 2011 13

Testbank to accompany Festival and Special Event Management by Allen et al.

40. What are the sustainable toilet options for an event?

The threat of having to go into a portable toilet cubicle can deter people from using facilities at an event at all. However, there are sustainable alternatives to chemical toilets. The use of waterless portable compost toilets, pioneered in Australia, is spreading across the world. Many music events in Australia have permanently installed these toilets; for example, the Meredith Music Festival and the Falls Festival, both in Victoria. The benefit of using this type of toilet is that it reduces transportable sewage by up to 80 per cent as waste is composted in situ. Reductions in water usage are also considerable.

Full-flush portable toilets should be avoided, as should those using chemical treatment products.

Biological treatment products should be readily available and are much kinder to sewage treatment facilities.

FEEDBACK: REFER TO SECTION: The Environmental Impacts of Event Production

© John Wiley & Sons Australia, Ltd 2011 14

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 13: Event Tourism Planning MULTIPLE CHOICE 1.

Event tourism is:

a. b. c. d.

Holiday packages built around attending different festivals and events A strategy for increasing visitation to a particular destination through use of events Taking successful events, festivals and performances on the road A strategy of using tourism attendance to synergistically build attendance at events

ANS: b. A strategy for increasing visitation to a particular destination through use of events FEEDBACK: Easy.

REFER TO SECTION: Introduction 2.

The responsibility for driving event tourism falls to:

a. b. c. d.

Government agencies Tourism promotional bodies and chambers of commerce A greater number and variety of organisations as the region size increases All of the above

ANS: d. All of the above FEEDBACK: Easy.

REFER TO SECTION: Developing Destination-based Tourism Strategies 3.

The benefit of a strategic approach to destination's event tourism development effort is:

a. b. c.

Coordination of effort Building an event tourism capacity that fits the overall tourism plan Building an event tourism capacity that fits the region's current and projected business environment All of the above

d.

ANS: d. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Event Tourism Strategic Planning Process 4.

Event tourism strategic plans commonly operate over planning horizons of:

a. b. c. d.

Up to a year 1 to 5 years 5 to 15 years 20 to 50 years

ANS: c. 5 to 15 years FEEDBACK: Moderate.

REFER TO SECTION: The Event Tourism Strategic Planning Process © John Wiley & Sons Australia, Ltd 2010 2

Chapter 13: Event tourism planning

5.

In an event tourism context, a situational analysis:

a. b. c. d.

Examines the region's current circumstances, with respect to events and tourism Examines the pros and cons of an events current location Examines the circumstances of tourists visiting the region – as holiday makers or business etc.

All of the above

ANS: a. Examines the region's current circumstances, with respect to events and tourism FEEDBACK: Moderate.

REFER TO SECTION: Situational Analysis 6.

A situational analysis should:

a. b. c. d.

Consult key stakeholders in the event area Examine the event area's strengths and weaknesses Identify any event tourism opportunities or threats All of the above

ANS: d. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Situational Analysis 7.

In the context of developing event tourism goals, leveraging events for economic gain means:

a. b. c. d.

Branding particular events together so they are more profitable Using events to bring in 'new' money from outside visitors Using tourism to promote an event, to increase the event's revenue All of the above

ANS: b. Using events to bring in 'new' money from outside visitors FEEDBACK: Moderate.

REFER TO SECTION: Development of Event Tourism Goals 8.

In the context of developing event tourism goals, the geographic dispersal of tourism's economic benefits refers to:

a. b. c. d.

An event's flow-on benefits to the broader economy Attracting event visitors from outside the event's local region Using events to draw tourists to regions outside the major tourist centres Encouraging event visitors to visit tourist centres outside the event's region

ANS: c. Using events to draw tourists to regions outside the major tourist centres FEEDBACK: Moderate.

REFER TO SECTION: Development of Event Tourism Goals

© John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management by Allen et al.

9.

In the context of developing event tourism goals, using events to assist in creating, changing or reinforcing the feelings consumers have about a region is known as:

a. b. c. d.

Destination leveraging Destination marketing Destination promotion Destination branding

ANS: d. Destination branding FEEDBACK: Moderate.

REFER TO SECTION: Development of Event Tourism Goals 10. In the context of developing event tourism goals, using an event to progress a regions general tourism efforts is known as: a. b. c. d.

Destination leveraging Destination marketing Destination promotion Destination branding

ANS: b. Destination marketing FEEDBACK: Moderate.

REFER TO SECTION: Development of Event Tourism Goals 11. In the context of developing event tourism goals, creating off-season demand refers to using events to: a. b. c. d.

Decrease the relative importance of a the main tourist season Extend the high-season Stimulate tourism in seasons outside the high-season All of the above

ANS: d. All of the above FEEDBACK: Difficult.

REFER TO SECTION: Development of Event Tourism Goals 12. Event tourism assists the development of: a. b. c. d.

The reputation of a region as a tourist destination The infrastructure of a region A region's social, cultural or environmental agendas All of the above

ANS: d. All of the above FEEDBACK: Easy.

REFER TO SECTION: Development of Event Tourism Goals

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Chapter 13: Event tourism planning

13. At the city, state, or national level, the various bodies involved in the events industry: a. b. c. d.

Should be consolidated into a single organisation to ensure a focused and consistent approach Should be allowed to independently focus on their own areas of expertise Should be coordinated into a consistent approach to event tourism, either through a single overseeing body or another coordinating mechanism All of the above

ANS: c. Should be coordinated into a consistent approach to event tourism, either through a single overseeing body, or another coordinating mechanism FEEDBACK: Moderate.

REFER TO SECTION: Creation of an Event Tourism Organisational Structure 14. In the context of event tourism organisations, government event advisory boards: a. b. c. d.

Perform a variety of event tourism development roles, from promoting destination event experiences, to developing and implementing whole-of-destination event tourism strategies.

Attract and bid for large scale events, create new events and develop existing ones Provide the government of the day with event-related strategic and policy advice, and encourage the state-wide coordination of events Develop and support business events within a destination

ANS: c. Provide the government of the day with event-related strategic and policy advice, and encourage the state-wide coordination of events FEEDBACK: Moderate.

REFER TO SECTION: Creation of an Event Tourism Organisational Structure 15. In the context of event tourism organisations, major event agencies: a. b. c. d.

Perform a variety of event tourism development roles, from promoting destination event experiences, to developing and implementing whole-of-destination event tourism strategies.

Attract and bid for large scale events, create new events and develop existing ones Provide the government of the day with event-related strategic and policy advice, and encourage the state-wide coordination of events Develop and support business events within a destination

ANS: b. Attract and bid for large scale events, create new events and develop existing ones FEEDBACK: Moderate.

REFER TO SECTION: Creation of an Event Tourism Organisational Structure

© John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management by Allen et al.

16. In the context of event tourism organisations, government tourism organisations: a. b. c. d.

Perform a variety of event tourism development roles, from promoting destination event experiences, to developing and implementing whole-of-destination event tourism strategies.

Attract and bid for large scale events, create new events and develop existing ones Provide the government of the day with event-related strategic and policy advice, and encourage the state-wide coordination of events Develop and support business events within a destination

ANS: a. Perform a variety of event tourism development roles, from promoting destination event experiences, to developing and implementing whole-of-destination event tourism strategies.

FEEDBACK: Moderate.

REFER TO SECTION: Creation of an Event Tourism Organisational Structure 17. In the context of event tourism organisations, business event agencies: a. b. c. d.

Perform a variety of event tourism development roles, from promoting destination event experiences, to developing and implementing whole-of-destination event tourism strategies.

Attract and bid for large scale events, create new events and develop existing ones Provide the government of the day with event-related strategic and policy advice, and encourage the state-wide coordination of events Develop and support business events within a destination

ANS: d. Develop and support business events within a destination FEEDBACK: Moderate.

REFER TO SECTION: Creation of an Event Tourism Organisational Structure 17. In the context of event tourism organisations, business event agencies: a. b. c. d.

Perform a variety of event tourism development roles, from promoting destination event experiences, to developing and implementing whole-of-destination event tourism strategies.

Attract and bid for large scale events, create new events and develop existing ones Provide the government of the day with event-related strategic and policy advice, and encourage the state-wide coordination of events Develop and support business events within a destination

ANS: d. Develop and support business events within a destination FEEDBACK: Moderate.

REFER TO SECTION: Creation of an Event Tourism Organisational Structure 18. An event tourism strategy of developing an existing event involves: a. b. c. d.

Identifying events that can be developed into a 'hallmark' event Develop a 'hallmark' event that can be supported by smaller, similar themed events Merging existing smaller events into a large, 'hallmark' event Any or all of the above

ANS: d. Any or all of the above FEEDBACK: Moderate.

REFER TO SECTION: Development of an Event Tourism Strategy © John Wiley & Sons Australia, Ltd 2010 6

Chapter 13: Event tourism planning

19. Events can be 'mobile' in the sense that they: a. b. c. d.

Are part of a circuit of events Move regularly between different destinations Can be 'poached' by another city or region Have no strong ties to their local community

ANS: b. Move regularly between different destinations FEEDBACK: Moderate.

REFER TO SECTION: Development of an Event Tourism Strategy 20. An event tourism strategy of bidding for an event involves: a. b. c. d.

Attending event symposiums where mobile events are auctioned to the highest bidder Applying to host a broad mix of events, and then moving forwards with the events that are won Competing with other destination to deliver the event and the event's specified features at least cost Carefully assessing the 'match' of an event and location, and preparing a thorough case for why the region should host the event

ANS: d. Carefully assessing the 'match' of an event and location, and preparing a thorough case for why the region should host the event FEEDBACK: Moderate.

REFER TO SECTION: Development of an Event Tourism Strategy 21. Hierarchical models of events, like Event Tasmania's model for example, arrange events according to: a. b. c. d.

Their ability to achieve tourism goals Their revenue raising capacity Their political importance Their social and cultural value

ANS: a. Their ability to achieve tourism goals FEEDBACK: Moderate.

REFER TO SECTION: Development of an Event Tourism Strategy 22. In the context of event tourism development, financial support is provided in the form of: a. b. c. d.

Grants Sponsorship Equity All of the above

ANS: d. All of the above FEEDBACK: Easy.

REFER TO SECTION: Implementation of an Event Tourism Strategy

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Testbank to accompany Festival and Special Event Management by Allen et al.

23. If the NSW Ministry of Sport and Recreation provided $5000 to fund a feasibility study into a regional car rally, this would be an example of: a. b. c. d.

A grant Sponsorship An equity investment All of the above

ANS: a. A grant FEEDBACK: Moderate.

REFER TO SECTION: Implementation of an Event Tourism Strategy 24. If the Brisbane City Council funded a craft Market to promote its Living in Brisbane 2026 program, this would be an example of: a. b. c. d.

A grant Sponsorship An equity investment All of the above

ANS: b. Sponsorship FEEDBACK: Moderate.

REFER TO SECTION: Implementation of an Event Tourism Strategy 25. If the NT Tourism Commission became the joint owner of an inland camel regatta, this would be an example of: a. b. c. d.

A grant Sponsorship An equity investment All of the above

ANS: c. An equity investment FEEDBACK: Moderate.

REFER TO SECTION: Implementation of an Event Tourism Strategy 26. In the context of event tourism development, an event tourism organisation offers bid development and bid support services in the sense that it: a. b. c. d.

Researches, develops and prepares bids, as well as facilitating the making of a bid Negotiates on behalf of the bidding organisation Organises the preparations of the event to ensure that bid promises are met All of the above

ANS: a. Researches, develops and prepares bids, as well as facilitating the making of a bid FEEDBACK: Difficult.

REFER TO SECTION: Implementation of an Event Tourism Strategy

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Chapter 13: Event tourism planning

27. In the context of event tourism development, event sector development services include: a. b. c. d.

Research on event related matters Training and education, in professional development Partnership and network development All of the above

ANS: d. All of the above FEEDBACK: Easy.

REFER TO SECTION: Implementation of an Event Tourism Strategy 28. Event tourism networks: a. b. c. d.

Facilitate the sharing of information and expertise Expand access to sponsorship opportunities for their members Developing partnerships within the events sector, and with outside organisations All of the above

ANS: d. All of the above FEEDBACK: Easy.

REFER TO SECTION: Implementation of an Event Tourism Strategy 29. An evaluation of an event tourism strategy will be based on: a. b. c. d.

Event tourism's impact on tourism revenue Event tourism's impact on tourist visitation and length of stay The event tourism goals and objectives adopted by the destination The event tourism goals and objectives that make up best industry practice

ANS: c. The event tourism goals and objectives adopted by the destination FEEDBACK: Easy.

REFER TO SECTION: Evaluation of an Event Tourism Strategy 30. According to the model of event tourism strategic planning developed in the text book, each organisation involved in a region's event tourism development should have its own goals, and these goals should be: a. b. c. d.

Measurable and regularly evaluated Link directly to the regions overall event tourism goals Provide the basis for evaluating a destination's event tourism performance All of the above

ANS: d. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Evaluation of an Event Tourism Strategy

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Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY 31. A detailed situational analysis should underpin the decisions made on what event tourism goals to set for a destination. What kind of factors could be included in a situational analysis?

A common tool for performing a situational analysis is the SWOT analysis. It considers an event destination's Strengths, Weaknesses, Opportunities and Threats. Within these categories, a situational analysis might consider the following: STRENGTHS/WEAKNESSES Existing stock of events • Type • Quality • Uniqueness/competitive advantage • Number • Duration/timing (for example, whether most events are scheduled at a particular time of the year, such as summer, and whether this clustering is advantageous or disadvantageous from a tourism perspective) • Current financial situation • Image/reputation (particularly in visitor markets) of individual events • Level of current demand from regional, intrastate, interstate and overseas visitor markets • Level of understanding (developed through market research) of the needs of visitor markets • Current economic, social and environmental impacts • Existing links between events and the destination’s tourism industry (for example, level of • packaging evident and level of partnering with tourism industry marketing bodies) • Stage of individual events in terms of their ‘product’ life cycle • Evidence of long-term strategic planning Venues/sites/facilities/supporting services • Number, type, quality and capacity of venues/outdoor event sites • Capacity of local suppliers (for example, equipment hire, food and beverage services) to support various types of event • Stock of supporting local tourism services (for example, accommodation suppliers, transport suppliers, tour operators) Human resources • Level/type of destination event venue/event management expertise • Capacity of a community to provide volunteers to support event delivery • Range/type of event-related training conducted in the area, or accessible to people from the area Stage of event sector development • Existence of organisations such as event industry associations, convention and visitors bureaus and major event agencies Destination location relative to major tourist markets • Travel time and costs • Types and frequency of public transport to and from the area

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Chapter 13: Event tourism planning

Degree of political support • Level of available funding for event tourism • Level of/potential for legislative support • Level of coordination/cooperation between local, state and national governments (and associated agencies) in the event area Level of community support • Prevailing community perspectives on the economic, environmental and social impacts of events • Level of anticipated local patronage for events (necessary to underpin the economics of many events) • Level of willingness of the community to absorb short-term negatives, such as crowding and traffic congestion • Willingness of the community to support events via volunteering and the provision of home • hosting services, etc.

OPPORTUNITIES/THREATS Potential for partnering with selected organisations to progress one or more event tourism goals • Possible partnering bodies include: o Government departments o Cultural organisations o Tourism bodies o Chambers of commerce o Tourism businesses (to package events) o Environmental groups (to minimise impacts/maximise environmental outcomes) Level and type of competition from events in other destinations • Direct competition from similar events • Indirect competition from dissimilar events taking place within the same time period as the existing/planned events Market tastes/preferences for events • Ability of an area to respond to changing market needs through existing and new events • Impact on existing/planned events of changes in such areas as family structures, community age profiles, patterns of work/retirement and attitudes to health, etc.

Availability of external funds • Capacity to attract government grants or loans • Likelihood of attracting sponsorship Potential to link events with overall destination branding efforts • Strength and nature of existing destination brand Local cultural/environmental attributes that have the potential to be leveraged for event purposes • Capacity of an area’s flora or fauna, Indigenous culture, history, ethnicity, architecture, local agricultural pursuits, etc. to be embraced within an event context Presence of local chapters/bodies with affiliations to parent organisations that regularly conduct events • Capacity of local sporting/business/cultural bodies to bid for and host events owned by their respective parent bodies; for example, national/international conventions, annual industry trade fairs and state/national/international annual sporting competitions

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Testbank to accompany Festival and Special Event Management by Allen et al.

Environmental and social impacts • Capacity of a destination to absorb event tourism impacts without negative environmental or community outcomes. Potential problem areas associated with events include waste generation, anti-social behaviour, crowding and the inability of local area infrastructure to cope with large, temporary population increases • Existing community perspectives on the environmental and social impacts of events General economic conditions • Employment levels • Interest rates • Inflation • Consumer confidence levels Other • Changes in weather patterns due to global warming • Security and health issues (for example, terrorism, bird flu) • Political climate (for example, the extent to which events involving particular groups or nations will be supported by key stakeholders, such as state or national governments) REFER TO SECTION: Situational Analysis 32. What is destination branding? Explain with reference to an example.

A destination’s ‘brand’ can be thought of as the overall impression, association or feeling that its name and associated symbols generate in the minds of consumers. Events are an opportunity to assist in creating, changing or reinforcing such brands.

The Australasian Country Music Festival, Australia’s largest country music event, is an excellent example of how an event can be used for destination branding purposes. This event has been extensively leveraged to create a ‘brand’ for the town of Tamworth where, arguably, none existed before. The town is now firmly established as ‘Australia’s country music capital’, a position it has sought to strengthen via a variety of means. These means have included developing a ‘Roll of Renown’ to tribute country music artists, building a guitar-shaped tourist information centre and swimming pool, constructing a 20-metre high ‘Golden Guitar’ at one entrance to the town, establishing an interpretive centre that overviews the evolution of country music in Australia and erecting memorials to country artists.

FEEDBACK: Students are free to choose any example REFER TO SECTION: Development of Event Tourism Goals

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Chapter 13: Event tourism planning

33. What is destination branding? Explain with reference to an example.

Events have the capacity to be scheduled in periods of low tourism demand, thereby evening out seasonal tourism flows. Events can also be used as a means of extending the tourist season by conducting them just before or just after the high-season period. In connection with the use of events for this purpose, this can serve to move market perceptions of a destination from that of a single-season-only location to one providing year-round leisure opportunities.

Skiing centres like Thredbo, for example, often use events as a means of generating demand during non-winter periods. The slopes can be turned over to bushwalking competitions, adventure sports, hosting conventions etc.

FEEDBACK: Students are free to choose any example REFER TO SECTION: Development of Event Tourism Goals

34. What problems are presented by having multiple bodies charged with event tourism development at a particular destination? How might these be overcome?

The existence of multiple bodies charged with event tourism development at a destination creates the potential for a loss of focus on its overall event tourism goals, as well as a less coordinated approach to their achievement.

For these reasons, there is a strong case for the creation of a single body, either within an existing organisation, or in the form of a new organisation with a charter to coordinate, assist and, if necessary, ‘push’ organisations towards the achievement of broader whole-of-destination event tourism goals. A government event advisory board can perform this function providing their charter extends to such matters as facilitating cooperation within the event field, strengthening information flows, linkages and networks.

In the absence of a single overseeing body, alternative mechanisms can be used to bring about a degree of coordination and cooperation within the event sector. These mechanisms include shared board memberships between key event tourism bodies, clearly defined organisational missions to prevent overlapping efforts, regular ‘round table’ meetings between key organisations, and conditions on funding that require broader event tourism goals to be addressed by bodies involved in the area.

REFER TO SECTION: Creation of an Event Tourism Organisation Structure

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Testbank to accompany Festival and Special Event Management by Allen et al.

35. A state's peak tourism body is considering developing one of three events into a hallmark event – a concert, a rodeo and a race. There are four relevant criteria: tourism numbers, tourism revenue, environmental impact, and promoting cultural diversity. On a scale of 1 to 5, the tourism body has rated the concert as 3,2,4,4; the rodeo as 3,4,3,2; and the race as 4,4,1,2 against the respective criteria Which event is likely to get the go-ahead if the criteria are equally important? What if tourist revenue is deemed to be twice as important as the other criteria?

In making decisions about what event tourism strategy to pursue, it can be useful to think in terms of what ‘portfolio’ (or mix) of events (for example, festivals, sporting competitions, business events) is likely to deliver the required benefits for a destination from event tourism. A useful first step in this regard is to rate events (existing, new and events for which bids are proposed), using available data and professional judgement, against established criteria A simple 1 (low) to 5 (high) rating system can be employed for this purpose. In this way, each criteria can be given a total score, with the idea that the highest scoring event is the most suitable. If each criteria are equally important, the table looks as follows, and the concert is the event of choice:

Numbers

Revenue

Environment

Culture

Total

Conce rt

3

2

4

4

13

Rode o

3

4

3

2

12

Race

4

4

1

2

11

A weighting could also be applied to each criterion, so the final numeric value associated with each event would be a product of the extent to which it was viewed as meeting each criterion, multiplied by the importance of that criterion. If Revenue is twice as important as the others, we can simply multiply the score for revenue by 2. If this is done, the rodeo is the most suitable event.

Numbers

Revenue

Environment

Culture

Total

Conce rt

3

2x2 = 4

4

4

15

Rode o

3

4x2 = 8

3

2

16

Race

4

4x2=8

1

2

15

REFER TO SECTION: Development of an Event Tourism Strategy

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Chapter 13: Event tourism planning

36. What are some common grant selection criteria employed by event tourism organisations?

Some common grant selection criteria employed by event tourism organisations include: • Potential, or demonstrated capacity, to increase tourist visitation, yield per visitor and length of visitor stay • Relationship between the event and area’s overall tourism development strategy, including its branding efforts • Level of evident community/local government/business/tourism industry support and associated capacity of event to grow and become self-funding • Event’s current tourism packaging efforts or potential for tourism packaging • Timing — does the event occur outside peak visitor seasons when tourism services are already being used at a high level?

• Level and quality of business, financial, operational and marketing planning in evidence • Media value associated with the event • Contribution to strategic social, cultural, environmental or economic outcomes sought by the • destination • Existence of processes designed to evaluate the event, particularly its tourism outcomes REFER TO SECTION: Development of an Event Tourism Strategy

37. A regional steam-train festival is considering asking the state tourism commission for research to support their situational analysis. With specific reference to the festival, what areas of research might be considered?

Some tourism event organisations undertake research on a range of event-related matters as a way of gaining information that will aid the development of individual events or the sector in general.

Matters explored include trends in event visitor markets (tourists visiting the steam train festival's region), developments in competitor destinations (tourist numbers in other states), visitor perceptions of the quality of event experiences (e.g. satisfaction surveys of people who attended the festival), event sector stakeholder viewpoints (surveying the attitudes of key festival supporters like funding bodies and the local community), event economic impacts (e.g. how much revenue the festival generates for the local community), and overall sector management practices (analysing the way the festival is run and managed).

REFER TO SECTION: Development of an Event Tourism Strategy

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Testbank to accompany Festival and Special Event Management by Allen et al.

38. In terms of financial support offered by event tourism organisations to festivals and events, what is the difference between grants, sponsorship and equity?

Grants are financial 'gifts', in the sense that the money does not have to be returned, though many conditions are attached to the granting of grants. As well as one-off and ongoing grants, grants may also be provided by event tourism bodies in the form of seed money to allow new events to be established, or for specific purposes, such as the conduct of a feasibility study to determine the viability of a proposed event. Grants can also be used as a form of incentive to conduct an event in a specific destination.

Some event tourism organisations and/or national/state/local governments act to directly sponsor events as a way of financially assisting them, and/or as a way of leveraging the opportunity presented by the event to progress their destination branding efforts or broader development agenda.

A specific return or benefit is expected from the sponsorship.

To facilitate the conduct of an event, a tourism event organisation may act to directly invest in it – that is, to purchase equity in the event. The event tourism organisation then becomes an investor, or part owner, and receive the benefits that investors would normally receive.

REFER TO SECTION: Development of an Event Tourism Strategy

39. How might an event tourism organisation assist an event or destination with marketing?

To assist organisations (such as sporting bodies and professional associations) in their efforts to stimulate market interest in their events, event tourism organisations, depending on their charter, may provide a range of assistance in the marketing area.

Such assistance may extend from the provision of marketing collateral to the creation of comprehensive supporting promotional plans. Additionally, such organisations may seek to facilitate the conduct of events by, for example: • Providing information to organisations seeking to conduct events on a destination’s eventrelated facilities and services • Hosting familiarisation tours and site visits by event organising committees • Assisting with the preparation of event programs and pre- and post-event • tours • Acting as a liaison between government and civic authorities.

REFER TO SECTION: Development of an Event Tourism Strategy

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Chapter 13: Event tourism planning

40. Why is the evaluation of an event tourism strategy important? Where might an organisation gather data on business tourism in Australia.

Evaluation is fundamental to the success of any strategy. It highlights lessons and helps refine the strategy for future success. At the destination level, the broad goals that have been set for event tourism, and the objectives associated with those goals, will form the basis of any evaluation that takes place. The collection and interpretation of information is central to this process, with data on visitor flows associated with event tourism being of particular importance.

In the context of business tourism in Australia, for example, data are available from a variety of sources, including Tourism Australia, state tourist commissions and city-based convention and visitor bureaus. International bodies, such as the International Congress and Convention Association (ICCA) and the International Meetings Industry Association (IMIA), also conduct research that relates to Australia’s comparative performance in this area. Tourism Australia (2006a), for example, provides an assessment (drawing on ICCA research) of Australia’s business-related event performance.

REFER TO SECTION: Evaluation of an Event Tourism Strategy

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Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2011

Testbank to accompany Festival and Special Event Management 5e by Allen et al

Chapter 14: Staging Events MULTIPLE CHOICE 1.

In the context of events, staging refers to:

a. b. c. d.

A flat, raised area, usually framed by curtains The presentation area, as well as the sound and lighting All the physical infrastructure involved in the presentation of an event Bringing together all the elements of a theatrical production for its presentation

ANS: D. Bringing together all the elements of a theatrical production for its presentation FEEDBACK: Easy.

REFER TO SECTION: Introduction 2.

In the staging of an event, the major artistic and creative decision to be made is:

a. b. c. d.

Deciding on a venue Determining the theme Selecting artists and entertainment Arranging the program of events

ANS: B. Determining the theme FEEDBACK: Moderate.

REFER TO SECTION: Theming and Event Design 3.

The importance of theme is in:

a. b. c. d.

Increasing the sellability of the event Creating cohesion between the different event elements Getting all of the event staff 'on the same page' Giving pointless gatherings a purpose

ANS: B. Creating cohesion between the different event elements FEEDBACK: Moderate.

REFER TO SECTION: Theming and Event Design 4.

The program of an event is:

a. b. c. d.

The series of activities leading up to an event An outline of what the event is trying to achieve The flow of the different event experiences over time The concept that holds the different elements of an event together

ANS: C. The flow of the different event experiences over time FEEDBACK: Moderate.

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Chapter 14: Staging events

5.

The program of an event should:

a. b.

Start on a high, and aim to maintain that level of energy and intensity through to the end Start with the lowest key element, then move through the different elements according to their energy level Move through cycles of intensity and rest towards ending on a high Start on a high, and then move progressively through less intensive elements to ease people out of the event

c. d.

ANS: C. Move through cycles of intensity and rest towards ending on a high FEEDBACK: Moderate.

REFER TO SECTION: Programming 6.

In the context of corporate events, the reveal is:

a. b. c.

When the CEO or highest ranking manager present, appears and greets the audience When the product being launched is first presented to the audience When the events star, such as a sporting or show business celebrity, first appears to the audience When the event's theme is first understood by the audience

d.

ANS: B. When the product being launched is first presented to the audience FEEDBACK: Moderate.

REFER TO SECTION: Programming 7.

Innovation and creative thinking are vital to the sustainability of festivals and special events because:

a. b. c. d.

They make the event more interesting for attendees and staff Uniqueness attracts the press, which can reduce the cost of promotion An innovative and marketable edge can help attract sponsors All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Programming 7.

In terms of venues for events, the advantage of conference centres and hotel functions rooms is that:

a.

They allow the event manager to control environmental factors and get people to focus on the event's presentations The place participants in a context already identified with leisure The concept of 'Hotels' is has a lot of potential, in terms of theme There is little need to dress or theme the space any further

b. c. d.

ANS: A. They allow the event manager to control environmental factors and get people to focus on the event's presentations FEEDBACK: Difficult.

REFER TO SECTION: Choice of Venue © John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management 5e by Allen et al

8.

In terms of venues for events, the disadvantage of conference centres and hotel functions rooms is that:

a. b. c.

Each hotel is different, and staff will need to adjust to each new venue Attendees may be tired of the same type of venue As a venue, they offer only a blank canvas, and the event organisers need to determine all the event elements themselves It is difficult to control the environmental elements

d.

ANS: B. Attendees may be tired of the same type of venue FEEDBACK: Difficult.

REFER TO SECTION: Choice of Venue 9.

What does the text identify as “absolutely necessary” before a venue can be booked as used in an event:

a. b. c. d.

A meeting between the stage manager and the event manager An internet-based investigation of the venue An inspection of the venue Consulting a list of venue features

ANS: C. An inspection of the venue FEEDBACK: Moderate.

REFER TO SECTION: Choice of Venue 10. The disadvantage of using the internet to search for a suitable venue for an event is that: a. b. c. d.

Not all professional venue centres have a web presence It is not possible to get an accurate 'feel' for a venue over the internet The internet is dominated by big business A web search will only return established venues, not unique, creative places

ANS: D. A web search will only return established venues, not unique, creative places FEEDBACK: Difficult.

REFER TO SECTION: Choice of Venue 11. In order to distribute the crowd evenly through the venue, an event organiser should: a. b. c. d.

Adopt tickets or reserved and designated seating methods Escort every person individually to their seat Erect signage that encourages an even distribution across the seating Offer incentives to sit in the least popular places

ANS: A. Adopt tickets or reserved and designated seating methods FEEDBACK: Moderate.

REFER TO SECTION: Audience and Guests

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Chapter 14: Staging events

12. In the production of events, the stage plan is: a. b. c. d.

A bird's eye view of the performance area A map of the infrastructure used in the production A communication tool to coordinate different work units All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Stage 13. On a stage plan sight lines are: a. b. c. d.

A bird's eye view of the performance area The sound and lighting desk's view of the performance area The stage managers view of the venue The audiences view of the staging area and performers

ANS: D. The audiences' view of the staging area and performers FEEDBACK: Moderate.

REFER TO SECTION: The Stage 14. A stage plan is also known as the: a. b. c. d.

Venue layout Venue infrastructure organisational map Venue schedule Venue staging

ANS: A. Venue layout FEEDBACK: Moderate.

REFER TO SECTION: The Stage 15. In the production of an event, the stage manager is the person: a. b. c. d.

Who acts as the public face of the event In control of the performance and coordinating the performers Scheduling the events on each stage Responsible for the staging construction and safety

ANS: B. In control of the performance and coordinating the performers FEEDBACK: Moderate.

REFER TO SECTION: The Stage

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

16. Once an event is underway, responsibility for ensuring everything runs to plan falls to: a. b. c. d.

The stage manager, working closely with the venue manager The event manager, working closely with the venue manager The stage manager, working closely with the MC The MC, working closely with the event manager

ANS: C. The stage manager, working closely with the MC FEEDBACK: Moderate.

REFER TO SECTION: The Stage 17. At the event, stage safety is generally the responsibility of: a. b. c. d.

The MC The venue manager The event manager The stage manager

ANS: D. The stage manager FEEDBACK: Moderate.

REFER TO SECTION: The Stage 18. Lighting at a venue has two functions. These are: a. b. c. d.

To light exits, and to light the performers To create a functional space, and to create artistic effects within the space To create a safe space, and to highlight points of interest To set a venue's ambiance, and to signal shifts in a performance

ANS: B. To create a functional space, and to create artistic effects within the space FEEDBACK: Moderate.

REFER TO SECTION: Lights 19. In the production of an event, the lighting plot is: a. b. c. d.

A map of the venue that shows the type and position of the lights A map of the venue that shows lighting and sightlines A schedule of lights used, and their power requirements A 'running order' for lighting changes

ANS: A. A map of the venue that shows the type and position of the lights FEEDBACK: Moderate.

REFER TO SECTION: Lights

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Chapter 14: Staging events

20. As well as ensuring that everybody can hear the event, sound systems are used to: a. b. c. d.

Communicate between the sound engineer and the stage manager Monitor the sound Record and broadcast the event All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Sound 21. In the context of managing the sound at an event, feedback is: a. b. c. d.

The degree to which the audience appears to be reacting to sound A high pitched sound that results when amplified sound is picked up by the microphones and amplified again A dull buzz generated by the poor positioning of speakers Speakers that give performers a feel for how they sound to the audience

ANS: B. A high pitched sound that results when amplified sound is picked up by the microphones and amplified again FEEDBACK: Moderate.

REFER TO SECTION: Sound 22. In the context of managing the sound at an event, feedback can be avoided by: a. b. c. d.

Closely monitoring the amplification levels Positioning the microphones so that they are lower than the speakers Positioning microphones so that they face away from the speakers Using feedback filtering software at the sound desk

ANS: C. Positioning microphones so that they face away from the speakers FEEDBACK: Moderate.

REFER TO SECTION: Sound 23. The person who coordinates the use of special effects and audiovisuals is called the: a. b. c. d.

Event manager Stage manager Stage producer Event producer

ANS: D. Event producer FEEDBACK: Moderate.

REFER TO SECTION: Audiovisual and Special Effects

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

24. At an event venue, the green room is the place where: a. b. c. d.

Performers dress and put on make up Performers and 'talent' are entertained Performers rest in between performance sets Performers take care of business matters, such as contracts etc.

ANS: B. Performers and 'talent' are entertained FEEDBACK: Moderate.

REFER TO SECTION: Performers 25. The crew briefing is: a. b. c. d.

The meeting where crew are shown the various features of the event site The document that outlines key responsibilities and crew contacts The meeting before the event where crew members are given their roles The document that outlines the key features of the artistic program

ANS: C. The meeting before the event where crew members are given their roles FEEDBACK: Moderate.

REFER TO SECTION: The Crew 26. In the staging of events, hospitality refers to: a. b. c. d.

The industry engaged in the provision of food and drink etc.

The treatment and service offered to the guests of an event The treatment and service all participants of an event receive, once they arrive The welcome participants receive as they enter the festival site

ANS: B. The treatment and service offered to the guests of an event FEEDBACK: Moderate.

REFER TO SECTION: Hospitality 27. In the staging of events, the production schedule is: a. b. c. d.

A list of times that initiate a change of any kind during the event and what happens at that change A list of the order of specific jobs at an event, for entertainers, caterers etc The running order of the different entertainment features A detailed list of production tasks, with specific start and stop times, from bump in to bump out

ANS: D. A detailed list of production tasks, with specific start and stop times, from bump in to bump out FEEDBACK: Difficult.

REFER TO SECTION: The Production Schedule

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Chapter 14: Staging events

28. In the staging of events, the run sheet is: a. b. c. d.

A list of times that initiate a change of any kind during the event and what happens at that change A list of the order of specific jobs at an event, for entertainers, caterers etc The running order of the different entertainment features The detailed listing of production task, with specific start and stop times, from bump in to bump out

ANS: B. A list of the order of specific jobs at an event, for entertainers, caterers etc FEEDBACK: Difficult.

REFER TO SECTION: The Production Schedule 29. In the staging of events, the cue sheet is: a. b. c. d.

A list of times that initiate a change of any kind during the event and what happens at that change A list of the order of specific jobs at an event, for entertainers, caterers etc The running order of the different entertainment features The detailed listing of production task, with specific start and stop times, from bump in to bump out

ANS: A. A list of times that initiate a change of any kind during the event and what happens at that change FEEDBACK: Difficult.

REFER TO SECTION: The Production Schedule 30. In the staging of events, a contingency plan is: a. b. c. d.

A plan that pulls together the various production elements A plan that outlines the hospitality offered to event guests at different stages of the night A plan to accommodate the possibility of things going wrong A plan for the bump out and shut down of an event

ANS: C. A plan to accommodate the possibility of things going wrong FEEDBACK: Moderate.

REFER TO SECTION: Contingencies

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

SHORT ANSWER/ESSAY QUESTIONS 31. A client wants their staff Christmas party to have an 'Ancient Greek' theme? How could this be created?

The theme plays a central role in an event. It binds the various elements of an event together into a cohesive package. These elements could adopt an 'Ancient Greek' theme in the following ways: Venue: If one could be found, the venue could be an excavation, or a museum. Or could use a function centre and rely on decorations to carry the theme.

Catering: Traditional Greek food, Ouzo.

Artists and Entertainers: Traditional Greek dance, Greek theatre references Décor and Props: Could be dressed in pillars and Greek architecture, sculptures etc.

Sound and Lights: Traditional Greek music, roving bards and singers AV and special effects: A pyrotechnic volcano?

FEEDBACK: Note: Students could work with this theme in any number of ways REFER TO SECTION: Theming and Event Design

32. What is a 'stage plan'? What function does it serve?

All stages require a stage map called the stage plan. The stage plan is simply a bird’s-eye view of the performance area, showing the infrastructure, such as lighting fixtures, entrances, exits and power outlets. The stage plan is one of the staging tools and a communication device that enables the event to run smoothly. For large events, the stage plan is drawn in different ways for different people and supplied on a ‘need-to-know basis’. A stage plan for the lighting technician, for example, would look different from the plan for the performers. The master stage plan contains all these different plans, each drawn on a separate layer of transparent paper. Other plans used in event design are the front elevation and side elevation. In contrast to the bird’s-eye view of the stage plan, these plans show the staging area as a ground-level view from the front and side respectively. They assist in establishing the audience’s sight lines — that is, the audience’s view of the staging area and performers.

REFER TO SECTION: The Stage

33. You are the event manager for a small community music festival that will be held outdoors in a park across two stages from midday to midnight. What factors need to be considered in terms of stage safety? How would you manage these? Draw up a stage plan for your event.

There are a number of factors to consider in terms of stage safety. These include: • There must be a well-constructed stage done professionally by a company with adequate insurance.

• There must be clear, well-lit access points to the stage.

• All protrusions and steps should be secured and clearly marked.

• Equipment and boxes should be placed out of the way and well marked.

• There should be work lights that provide white lighting before and after the event.

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Chapter 14: Staging events

• • •

A first-aid kit and other emergency equipment should be at hand.

There must be clear guidelines on who is in charge during an emergency and an evacuation plan.

A list of all relevant contact numbers should be made.

There are a number of policies and strategies for meeting all of these safety requirements.

FEEDBACK: Note: Students can come up with their own site plan, and strategies for meeting the safety concerns REFER TO SECTION: The Stage

34. There is a concern that there will be sound leakage at the event discussed in Question 33. What is sound leakage? How can it be minimised? Adjust you stage plan if necessary.

Sound leakage can occur at multi-venue events, where the sound from one stage interferes with the sound coming from another stage, detracting from the experience of those listening to it. Sound leakage between stages can be minimised by: • thoughtful placement of the stages • careful positioning of all sound speakers (including the monitors) • constant monitoring of the volume level • careful programming of the events on each stage in a way that avoids interference.

FEEDBACK: Answer and adjustments to stage plan depend on the student's answer to Question 33 REFER TO SECTION: Sound

35. What does the 'pre-programming' of an event's audiovisual elements mean? What are the advantages and disadvantages of pre-programming?

Because much of the audiovisual and special effects technology is highly complex, it is often ‘pre-programmed’. This means that all lighting, audiovisual and sound ‘pre-sets’ (technical elements positioned before the event) — including the changing light and sound levels, and the cueing of video and slide presentations — can be programmed into the controlling computer. The computer control of much of the audiovisuals means the whole presentation can be fully integrated and set up well in advance. Because these aspects are pre-arranged, including all the cue times, few technicians are needed to control these operations during the event. The disadvantages, however, are that spontaneity can be taken from the event; and the more complex the technology, the more things can go wrong. Moreover, the technology becomes the master of the cue times and it is nearly impossible to take advantage of any unforeseen opportunities.

REFER TO SECTION: Audiovisual and Special Effects

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Testbank to accompany Festival and Special Event Management 5e by Allen et al

36. What concerns does the consumption of alcoholic beverages present to an event manager? How does this affect the relationship with the caterer?

The consumption of alcoholic beverages at an event gives rise to many concerns for the event manager. These include the special training of staff, which party holds the licence (venue, event manager or client) and the legal age for consumption. The possible problems that arise from the sale of alcohol — for example, increased audience noise at the end of the event and general behavioural problems — can affect almost all aspects of the event. Due to the high risk in this area, one event company sends its entire staff to responsible service of alcohol (RSA) training. The decision on whether to allow the sale or consumption of alcohol can be crucial to the success of an event and needs careful thought.

The serving of alcohol can be negotiated with a caterer in a variety of ways. The drinks service can be from the bar or served at the table by the glass, bottle or jug. A caterer may offer a ‘drinks package’, which means the drinks are free for, say, the first hour of the catered event. A subtle result of this type of deal is that the guests may find it hard to find a drinks waiter in the first hour.

REFER TO SECTION: Catering

37. In the context of staging events, what is hospitality? How can it be successfully provided to event guests?

A major part of the package offered to sponsors is hospitality. What will the sponsors expect event management to provide for them and their guests? They may require tickets, food and beverages, souvenirs and gifts. The event may benefit in the long term by also offering hospitality to stakeholders, VIPs and others, including politicians, media units, media personalities, clients of the sponsor, potential sponsors, partners and local opinion leaders.

Anyone offered hospitality is referred to as a guest of the event.

In their classic work on sports events, Graham, Goldblatt and Delpy (1995, p. 84) describe the four stages for achieving success in the provision of hospitality to guests. Stage 1 is to know the guests’ expectations. Stage 2 is to exceed the guests’ expectations, particularly by providing extra amenities. Stage 3 is to be responsive to changes in the guests’ needs during the event. Stage 4 is to evaluate the hospitality at the event so it can be improved next time.

REFER TO SECTION: Hospitality

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Chapter 14: Staging events

38. You are organising a production meeting. Who will you invite? What kinds of things might be discussed?

A production meeting, on the other hand, is a get-together of those responsible for producing an event. It involves the stage manager and the event producer, representatives of the lighting and sound crew or audiovisual specialists, representatives of the performers and the master of ceremonies. It is held at the performance site or stage as near to the time of the event as possible. At this crucial meeting: • final production schedule notes are compared • possible last-minute production problems are brought up • the flow of the event is summarised • emergency procedures are reviewed • the compere is introduced and familiarised with the production staff • the communication system is tested.

REFER TO SECTION: The Production Schedule

39. What is the importance of the bump-in and bump-out in the production schedule?

What happens during these times?

Two particularly limited times on the schedule are the bump-in and bump-out times. The bump-in is the time when the necessary infrastructure can be brought in, unloaded and set up; the bump-out is the time when the equipment can be dismantled and removed. Although the venue or site may be available to receive the equipment at any time, many other factors set the bump-in time. The hiring cost and availability of equipment are two important limiting factors. In most cases, the larger items must arrive first. These may include fencing, tents, stage, food vans and extra toilets. Next is the audiovisual equipment and, finally, the various decorations. Supervision of the arrival and set-up of the equipment can be crucial to minimising problems during the event. The contractor who delivers and assembles the equipment is often not the operator of the equipment. This can mean that once equipment is set up, it is impossible to change it without recalling the contractor.

Bump-out can be the most difficult time of an event, because the excitement is over, the staff are often tired and everyone is in a hurry to leave. Nevertheless, security and safety are important at this stage. The correct order of bump-out needs to be on a detailed schedule, which is often the reverse of the bump-in schedule. The last item on the checklist for the bump-out is the ‘idiot check’. This refers to the check that is done after everything is cleared from the performance area, when some staff search for anything that may be left.

REFER TO SECTION: The Production Schedule

40. Why is it important to make a recording of an event? What factors need to be considered?

By their nature, special events are ephemeral. A good quality recording of the event is essential for most event companies, because it demonstrates the ability of the organisation and can be used to promote the event company. It can also help in evaluating the event and, if © John Wiley & Sons Australia, Ltd 2010 13

Testbank to accompany Festival and Special Event Management 5e by Allen et al

necessary, in settling later disputes, whether of a legal or other nature. The event can be recorded on video, as a sound recording or as photographs. Any visual recording of the event requires planning. In particular, the correct lighting is needed for depth of field.

The following factors need to be considered for video recording: • What is it for — promotion, legal purposes or sale to the participants?

• What are the costs in terms of time and money?

• How will it affect the event? Will the video cameras be a nuisance? Will they need white lighting?

• What are the best vantage points?

Recording the event is not a decision that should be left until the last minute; it needs to be factored into the planning of the event. Copyright clearance, for example can be an issue long after the event. Once an event is played out, there is no going back.

REFER TO SECTION: Recording the event

© John Wiley & Sons Australia, Ltd 2010 14

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 15: Logistics MULTIPLE CHOICE 1.

Logistics is an analysis tool used to:

a. b. c. d.

Manage the set-up of an event Manage the event once it's up and running Manage the shut-down of an event All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: What is Logistics 2.

Event logistics has more in common with military logistics than modern business logistics because:

a.

They are both concerned with the efficient transport of people and facilities to the event, rather than the transport of goods to the people They are both generally concerned with specific projects or campaigns, rather than ongoing activity Inventory and warehousing are not a primary concern All of the above

b. c. d.

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: The Elements of Event Logistics 3.

Which of the following is not a logistics area?

a. b. c. d.

Ticket distribution Ticket pricing and printing Ticket collection Ticket security

ANS: B. Ticket pricing and printing FEEDBACK: Difficult.

REFER TO SECTION: Supply of the Customer 4.

Online ticketing has introduced the risk of:

a. b. c. d.

Over-selling On-line forgery On-line scalping Under-subscription

ANS: C. On-line scalping FEEDBACK: Moderate. © John Wiley & Sons Australia, Ltd 2010 2

Chapter 15: Logistics REFER TO SECTION: Supply of the Customer 5.

With regards to queuing, a logistics plan should aim to:

a. b. c. d.

Minimise the time people spend in queues at the event Keep the actual time people spend in a queue to a reasonable level Keep the time people 'feel' they have spent in a queue to a reasonable level Use queues to curb people's enthusiasm

ANS: C. Keep the time people 'feel' they have spent in a queue to a reasonable level FEEDBACK: Moderate.

REFER TO SECTION: Queuing 6.

The use of 'staggered entertainment' is a means of:

a. b. c. d.

Managing a potential rush of people exiting an event Pricing different aspects of the event differently, depending on what people are willing to pay Catering to different tastes as the night progresses, from children's through to adult Pacing a show so that it builds in intensity and energy towards the grand finale

ANS: A. Managing a potential rush of people exiting an event FEEDBACK: Moderate.

REFER TO SECTION: Queuing 7.

In terms of the logistics of transporting customers to an event, dump describes:

a. b. c. d.

The tendency for attendees to drop everything and run as soon as the event finishes The place where event shuttle buses deposit attendees The placement of bins along the lines people travel towards the exits The situation where event attendees arrive almost at once

ANS: D. The situation where event attendees arrive almost at once FEEDBACK: Moderate.

REFER TO SECTION: Customer Transport 8.

In terms of the logistics of transporting customers to an event, the situation where event goers arrive and leave over drawn out periods, rather than all at once, is commonly referred to as:

a. b. c. d.

Dribble Trickle Drizzle Oozle

ANS: B. Trickle FEEDBACK: Moderate.

REFER TO SECTION: Customer Transport

© John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management by Allen et al.

9.

In terms of the logistics of an event's transport needs, a carnet is:

a. b. c. d.

A permit for the transport of hazardous materials, such as pyrotechnics A binding contract between suppliers based in different jurisdictions A licence issued by Customs for the movement of goods across international borders An application for goods held in Customs or quarantine to be processed quickly

ANS: C. A licence issued by Customs for the movement of goods across international borders FEEDBACK: Moderate.

REFER TO SECTION: Supply of Product – Product Portfolio 10. In terms of the event manager's approach to managing artist transport, accommodation and on-site needs, a guiding principle should be: a. b. c. d.

To accept no more expense than that which is necessary to provide the minimum conditions that each individual artist will tolerate To treat artists as a productive asset and to put in place arrangements that gets the most out of the 'product' To recognise the unique role of artists and to make them feel pampered To group artist and audience needs together, unless there is a special reason not to

ANS: B. To treat artists as a productive asset and to put in place arrangements that get the most out of the 'product' FEEDBACK: Moderate.

REFER TO SECTION: Supply of Product – Product Portfolio 11. In terms of the event's on-site logistics, flow refers to: a. b. c. d.

Working with the different levels of intensity built into the events performance program Letting the movement of materials, etc. find its own natural rhythm Working to create a gentle run in, and then out of an event Anticipating peaks and lows in the physical movement of different elements, and coordinating these movements in a manageable way

ANS: D. Anticipating peaks and lows in the physical movement of different elements, and coordinating these movements in a manageable way FEEDBACK: Moderate.

REFER TO SECTION: On-site Logistics 12. The logistics of an event are dependent on an efficient communication system, which is why: a. b. c. d.

Events often employ systems that need little to no communication to coordinate Events tend to invest heavily in high-tech communication solutions Events often have levels of redundancy or back-ups for key communication systems All of the above

ANS: C. Events often have levels of redundancy or back-ups for key communication systems FEEDBACK: Moderate.

REFER TO SECTION: On-site Logistics © John Wiley & Sons Australia, Ltd 2010 4

Chapter 15: Logistics

13. If a national park is used for an event, a Review of Environmental Factors (REF) is mandatory. A REF: a. b. c. d.

Describes the event's impact on the existing environment and land use Describes the event's impact on the local Aboriginal community Is a list of criteria that the activity must meet before it can be approved All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: On-site Logistics 14. A rule of thumb at community festivals is that there should be one toilet for every: a. b. c. d.

25 people 75 people 150 people 250 people

ANS: C. 150 people FEEDBACK: Moderate.

REFER TO SECTION: On-site Logistics 15. The number of toilets needed to service a given number of people at a festival can vary substantially according to: a. b. c. d.

Gender Alcohol consumption Length of stay at the event All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: On-site Logistics 16. Many food and wine fairs use pre-sale tickets that can be exchanged for samples, rather than actual money, because: a. b. c. d.

This reduces problems associated with accounting and securing the money Participants enjoy the novelty of using something other than money Many fairs feel that money is crass and cheapens the event experience All of the above

ANS: A. This reduces problems associated with accounting and securing the money FEEDBACK: Moderate.

REFER TO SECTION: On-site Logistics

© John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management by Allen et al.

17. Food, catering and food poisoning can be a high risk factor at special events and festivals because: a. b. c. d.

Alcohol is often a complicating factor Volunteers working with food are often inexperienced People are consuming food they wouldn't otherwise consume All of the above

ANS: B. Of the temporary nature of events and inexperienced volunteers FEEDBACK: Moderate.

REFER TO SECTION: On-site Logistics 18. A media presence at an event: a. b. c. d.

Can disturb the rhythm of the event organisation's preparations, because media organisations often work on short timelines Can disrupt live performance elements, through radio requirements or TV lighting, etc.

Can have a huge impact on publicity and sponsorship All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: On-site Logistics 19. If an event does not comply with the regulations for emergencies: a. b. c. d.

The event may receive a notice of breach in the mail The local council may prevent any further participants from entering until the problem is rectified.

The local council may close down the festival immediately Council approval for the following year may be in jeopardy

ANS: C. The local council may close down the festival immediately FEEDBACK: Moderate.

REFER TO SECTION: On-site Logistics 20. In terms of military logistics, the shutdown phase of an event corresponds to: a. b. c. d.

Deployment Combat Redeployment R&R

ANS: C. Redeployment FEEDBACK: Moderate.

REFER TO SECTION: Shutdown

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Chapter 15: Logistics

21. In terms of the shutdown phase of an event, the event is over when: a. b. c. d.

The last act finishes The last participant leaves The last piece of equipment is packed away or returned The management of the event has been assessed

ANS: D. The management of the event has been assessed FEEDBACK: Moderate.

REFER TO SECTION: Shutdown 22. The logistics manager's ability to foresee and fix any potential problems takes on a special significance in events because: a. b. c. d.

Events can cater to such a large number of people An event's functional areas are so closely linked that a small problem in one area can lead to very large problems down the track Event equipment tends to be very expensive Event resources are typically tightly stretched already

ANS: B. An event's functional areas are so closely linked that a small problem in one area can lead to very large problems down the track FEEDBACK: Moderate.

REFER TO SECTION: Techniques of Logistics Management 23. A key role of the logistics manager is: a. b. c. d.

To link the various managers, like the event manager, stage manager, artistic director etc To provide administrative support to the event manager To manage the artistic direction of the event To coordinate the events marketing and promotions

ANS: A. To link the various managers, like the event manager, stage manager, artistic director etc FEEDBACK: Moderate.

REFER TO SECTION: Techniques of Logistics Management 24. In preparing a site map, the key features of a map are: a. b. c. d.

Roads, waterways and topography Scale, north arrow, and you-are-here Scale, projection and the key Toilets, stages and the key

ANS: C. Scale, projection and the key FEEDBACK: Difficult.

REFER TO SECTION: Site or venue map

© John Wiley & Sons Australia, Ltd 2010 7

Testbank to accompany Festival and Special Event Management by Allen et al.

25. The detail on a particular site map should: a. b. c. d.

Be as detailed as resources will allow Depend on who the map is for and what they need to know Be based on actual geographic maps or aerial photographs All of the above

ANS: B. Depend on who the map is for and what they need to know FEEDBACK: Difficult.

REFER TO SECTION: Site or venue map 26. In the context of event logistics, a gap analysis is: a. b. c. d.

Studying the map to identify any areas where infrastructure is insufficient Studying the program to identify weaker areas of the performance schedule Studying the logistics plan to identify oversights that could affect implementation All of the above

ANS: C. Studying the logistics plan to identify oversights that could affect implementation FEEDBACK: Moderate.

REFER TO SECTION: Negotiation and Assessment 27. A gap analysis is the first step in developing: a. b. c. d.

An emergency plan A contingency plan Evacuation procedures A worst case scenario

ANS: B. A contingency plan FEEDBACK: Moderate.

REFER TO SECTION: Negotiation and Assessment 28. The aim of the logistics manager is to create a plan that: a. b. c. d.

Can be easily controlled and adapted as the event progresses Can be implemented with a small amount of guidance from the management team Can be implemented with a minimum of effort on their part Can be implemented without any active control on their part

ANS: D. Can be implemented without any active control on their part FEEDBACK: Moderate.

REFER TO SECTION: Control of Events Logistics

© John Wiley & Sons Australia, Ltd 2010 8

Chapter 15: Logistics

29. An example of a qualitative technique used in the evaluation of an event's logistics is: a. b. c. d.

Counting the number of safety incidents The number of customer complaints A discussion with sponsors Length of queues

ANS: C. A discussion with sponsors FEEDBACK: Moderate.

REFER TO SECTION: Evaluation of Logistics 30. In the context of events, over-planning can be a significant risk because: a. b. c. d.

Emergencies require event staff to think quickly There is often a need to take opportunities when they arise There is rarely time to consult a manual if things go wrong A certain sense of chaos is fundamental to an exciting event

ANS: B. There is often a need to take opportunities when they arise FEEDBACK: Moderate.

REFER TO SECTION: Control of Events Logistics

© John Wiley & Sons Australia, Ltd 2010 9

Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY QUESTIONS 31. Does event logistics have more in common with business logistics or military logistics? In what way?

Whereas most logistics theory concerns the supply of products to customers, event logistics includes the efficient supply of the customer to the product, and the supply of facilities to and from the event site. In this sense, it has more in common with military logistics than modern business logistics. Business logistics is an ongoing activity and part of the continual management of a company. Military and event logistics often concern a specific project or campaign rather than continuing management. There is a defined preparation, lead-up, execution and shutdown. As well, issues such as inventory control and warehousing that are the basis of business logistics are not as important to a one-off event.

REFER TO SECTION: The Elements of Event Logistics 32. How important is 'ticketing' to an event? What is the advantage of the coloured wristbands, commonly used at festivals these days?

Ticketing is important to events whose primary income is from the entrance fee. For many events, such as sports events, the extent of ticket sales can determine success or failure. An innovative method of ticketing for festivals is to use the hospital-style wristbands called crowd control bands.

These are colour coded to indicate the level of the ticket — a day ticket, a weekend ticket or a special performer’s ticket. The use of these wristbands introduces a visual method of control during a large event, because the sale of food and drinks is allowed only if the wristband is shown. In this way, the food vendors become part of the security for the event.

REFER TO SECTION: Supply of the Customer 33. What kinds of factors should be considered with regards to queuing at an event? You are running an event that has only one, narrow entrance, and there is a concern that there will be long queues. What can be done to keep customers happy?

Factors to consider with regards to queuing include: • How many queues and possible bottlenecks will there be?

• Has an adequate number of personnel greeters, crowd controllers, ticket collectors and security staff been allocated?

• Is signage (including the estimated waiting time) in place?

• When will the queues form? Will they form at once or over a period of time?

• How can the perceived waiting time be reduced (for example, queue entertainers)?

• What first aid, access and emergency procedures are in place?

• Are the lighting and sun and rain protection adequate?

• Are crowd-friendly barricades and partitions in place?

An important aspect of queue theory is the ‘perceived waiting time’. This is the subjective time that the customers feel they have waited. That is, it is not the absolute length of time customers have waited, but how long the wait has felt. This feeling of length can be diminished by, for example, providing entertainment, like jugglers, product demonstrations, or food samples.

REFER TO SECTION: Supply of the Customer © John Wiley & Sons Australia, Ltd 2010 10

Chapter 15: Logistics

34. What kinds of things need to be considered in preparing for the flow of traffic and people around a festival site, at the time of the event?

A logistics plan must account for the event site's roads themselves, and then the flow of movement along those roads. The access roads through a large festival and during the event have to accommodate: • artist and equipment transport • garbage removal • emergency fire and first-aid access and checking • stall set-up, continual supply and removal • security • food and drink supplies • staging equipment set-up, maintenance and removal • site communication.

The logistics must plan for emergencies, as well as remembering that the performers for an event need transport from their accommodation to the stage. Often, the performers go via the equipment storage area to the rehearsal rooms, then to the stage. At the conclusion of the performance, the performers return their equipment to storage, and then retire for a well-earned rest in the green room. For a community festival with four stages, this to-ing and fro-ing can be quite complex.

At the same time as the performers are transported around the site, the media, audience and VIPs are on the move. There is also the movement of the food vendors’ suppliers, water, security, ambulances and many more. When any one of the major venues empties, there is further movement around the site by the audience. This results in peak flow times when it may be impossible to move anything around the venue except the audience. These peaks and lows have to be anticipated in the overall event plan.

REFER TO SECTION: On-site Logistics 35. How can signage be used as a communication tool at an event? What factors need to be taken into account?

On-site signage is an important part of communicating to the attendees of an event. It may be as simple as messages on a whiteboard in the volunteers’ dining area, or it may involve large on-site maps showing the public the locations of facilities. Two important issues of on-site signage are position and clarity. A direction sign that is obscured by sponsors’ messages, for example, diminishes its value to the event. For large events, the signage may need a detailed plan. The issues to consider are: • overall site placement of signs — at decision points and at danger spots, so they are integrated into the event • the types of sign needed, such as directional, statutory (legal and warning signs), • operational, facility and sponsor • the sign literacy of the attendees — what sort of signs are they used to reading?

• the placement of signs — entrance, down the road, height • the supply of signs, their physical maintenance and their removal • the credibility of the signs — if a facility is moved then the signs may need to be changed.

REFER TO SECTION: On-site Logistics © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management by Allen et al.

36. How might media coverage affect an event's logistics? Is media coverage worth the extra effort required to accommodate it?

The effect on event logistics by media coverage of the event cannot be overestimated. Even direct radio broadcasts can disrupt the live performance of a show, both in the setting up and the actual broadcast. The recording or broadcasting of speeches or music often requires separate microphones or a line from the mixing desk and these arrangements cannot be left until just before the performance. Television cameras require special lighting, which often shines directly into the eyes of the audience. The movement of a production crew and television power requirements can be distracting to a live performance and need to be assessed before the event.

Media organisations work on very short timelines and may upset the well-planned tempo of the event. However, the rewards in terms of promotion and event finance are so large that the media logistics can take precedence over most other aspects of the event. These decisions are often made by the event manager in consultation with event promoters and sponsors. This is an area that illustrates the need for flexible negotiations and assessment by the logistics/operations manager.

REFER TO SECTION: On-site Logistics

37. In terms of event shutdown, what work remains after the event is finished?

The site may look empty after the event, but the experienced event manager knows that the work has only just begun. The equipment needs to be collected, repaired and stored, or immediately returned to its owners. Small equipment such as hand-held radios are easily lost, so many events have a sign-on/sign-off policy for these items. With large crowds, you can almost guarantee there will be an assortment of lost items. A member of staff needs to walk the site to check whether anything has been left behind — called the ‘idiot check’ in the music industry.

As the site is being shut down, it may also be prepared for the next event. This is a consideration for all the other resources. The equipment may be packed away so it can be easily found and used for the next event. Shutdown thus has a further element: preparation for the next event. Extensive site clean-up is also often required, as detailed in the following event profile.

Very large events may require the sale of facilities and equipment at a post-event auction. Some events in Australia find that it is more cost-effective to buy or make the necessary equipment and sell it after the event. Finally, it is often left to the person in charge of logistics to organise the final thank-you party for the volunteers and staff.

Back at the event office, there will be at least a few weeks of project closure. This will include acquitting all the contracts, paying the bills and collecting all the records of the event, media clippings and any incident report sheets. These records will assist when all the reports have to be prepared and any funding is acquitted. Although the next step may not be the responsibility of the person in charge of logistics, the event logistics manager will have an important role. The event is not over until the management of the event has been assessed. The logistics plan is part of the overall event project plan, so has to be assessed for its effectiveness.

REFER TO SECTION: Shutdown

© John Wiley & Sons Australia, Ltd 2010 12

Chapter 15: Logistics

38. What is the role of the logistics manager? How does the logistics manager relate to other members of the management team?

The logistics manager's role is complex. The logistics manager has to be a procurer, negotiator, equipment and maintenance manager, personnel manager, map maker, project manager and party organiser. For a small event, logistics can be the direct responsibility of the event manager.

Logistics becomes a separate area if the event is large and complex. Multi-venue and multi-day events usually require a separate logistics manager position.

Part of the role of the logistics manager is to efficiently link all areas of the event.

Figure 15.16 shows the lines of communication between the logistics manager and other managers for a large, complex, multi-venue event. It is a network diagram because, although the event manager or director has ultimate authority decision-making authority is usually devolved to the submanagers who work at the same level of authority and responsibility as the event manager.

REFER TO SECTION: Techniques of Logistics Management

39. What is the value of a site or venue map? What is the key to a good map?

A map of the event site or venue is a necessary communication tool for the logistics manager. For small events, even a simple map can be an effective tool that obviates the need for explanations and can quickly identify possible problem areas. The map for larger festivals can be an aerial photograph with the logistic features drawn on it. For smaller events, it may be a sketch map that shows only the necessary information to the customer. The first questions to ask are ‘What is the © John Wiley & Sons Australia, Ltd 2010 13

Testbank to accompany Festival and Special Event Management by Allen et al. map for?’ and ‘Who will be reading it?’ A logistics site map contains very different information from that on the site map used for promotional purposes. The map needs to filter information that is of no interest to the logistics plan.

The three basic features of maps — scale, projection and the key (showing the symbols used) — have to be adapted to their target audience. Volunteers and subcontractors, for example, must be able to clearly read and understand it. The communication value of the site map also depends on where it is displayed. Some festivals draw the map on the back of the ticket or program.

REFER TO SECTION: Techniques of Logistics Management

40. What are the emergency procedures at an event? What kinds of things are covered by the emergency procedures?

Emergency procedures at an event can range from staff qualified in first aid, to using the St John Ambulance service, to the compilation of a comprehensive disaster plan. The location of first aid facilities should be indicated on the site map and all of the event staff should be aware of this location. Large events require an emergency access road that has to be kept clear. These issues are so important that a local council may immediately close down an event that does not comply with the regulations for emergencies. Festivals in the countryside can be at the mercy of natural disasters, including fires, storms and floods. Emergency plans should also: • detail arrangements for on-site emergencies not requiring outside help • specify arrangements to request further police and other emergency services assistance • specify arrangements to hand over control to police and emergency services as required • identify personnel who can authorise evacuation • identify how the event will be interrupted • provide a grid plan of the venue and all services • identify access and evacuation routes • identify evacuation areas for performers, employees and patrons • establish an emergency control centre, which has back-up power and lighting • provide details of coded messages to alert and stand down emergency service and security personnel • identify the role event staff will take in supporting civilian services • identify meeting points for emergency services • identify triage and ambulance loading areas • include details of hospitals prepared for a major incident • identify access and egress routes, and the security of these routes • provide details of a temporary mortuary facility.

REFER TO SECTION: On-site Logistics

© John Wiley & Sons Australia, Ltd 2010 14

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 16: Event Evaluation and Research MULTIPLE CHOICE 1.

Event evaluation literature and practice is dominated by:

a. b. c. d.

Social evaluation Economic evaluation Environmental impact studies Cultural and community evaluation

ANS: B. Economic evaluation FEEDBACK: Easy.

REFER TO SECTION: Introduction 2.

The most important purpose of event evaluation is:

a. b. c. d.

To demonstrate to stakeholders that the event is being run professionally To highlight the successes of the event management The advancement of events and event management as a science To achieve ranking league tables in the event management industry

ANS: C. The advancement of events and event management as a science FEEDBACK: Easy.

REFER TO SECTION: Introduction 3.

A pre-event evaluation is also known as:

a. b. c. d.

A feasibility study A community impact study A stakeholder review An initial projection

ANS: A. A feasibility study FEEDBACK: Difficult.

REFER TO SECTION: What is Event Evaluation 4.

The evaluation that occurs during the implementation of the event is:

a. b. c. d.

A feasibility study The progress report The monitoring and control process A mission update

ANS: C. The monitoring and control process FEEDBACK: Difficult.

REFER TO SECTION: What is Event Evaluation

© John Wiley & Sons Australia, Ltd 2010 2

Chapter 16: Event evaluation and research

5.

The post-event evaluation focuses on:

a. b. c. d.

Demonstrating that the event is viable Measuring event outcomes and improving the event Keeping the event on track while it is active All of the above

ANS: B. Measuring event outcomes and improving the event FEEDBACK: Difficult.

REFER TO SECTION: What is Event Evaluation 6.

In the context of events, the government uses economic impact studies:

a. b. c. d.

To measure what has been achieved with taxpayer money To compare events against other investment options To compare an event against other events All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Event Impacts and Evaluation 7.

The focus on economic impacts in economic evaluations:

a. b.

Has come to replace a focus on social and environment impacts Recognises economic impacts as being just as important as important as social and environment impacts Has been replaced by a greater focus on social and environment impacts Still dominates other concerns, though there is greater recognition that economic impacts are not the full story

c. d.

ANS: D. Still dominates other concerns, though there is greater recognition that economic impacts are not the full story FEEDBACK: Moderate.

REFER TO SECTION: Event Impacts and Evaluation 8.

An example of an indicator that can be used to measure the economic impacts of an event is:

a. b. c. d.

The dollar value of time lost in traffic The financial yield of visitors Percentage of locals who attend the event Percentage of waste recycled

ANS: B. The financial yield of visitors FEEDBACK: Moderate.

REFER TO SECTION: Event Impacts and Evaluation

© John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management by Allen et al.

9.

An example of an indicator that can be used to measure the social impacts of an event is:

a. b. c. d.

Percentage of energy sourced from Green energy Net benefits per person in the local community Percentage of business contracted out to local businesses Water consumption

ANS: C. Percentage of business contracted out to local businesses FEEDBACK: Moderate.

REFER TO SECTION: Event Impacts and Evaluation 10. An example of an indicator that can be used to measure the environmental impacts of an event is: a. b. c. d.

The value of new facilities developed The financial yield of visitors Percentage of locals who volunteer at the event Energy used in event transport

ANS: D. Energy used in event transport FEEDBACK: Moderate.

REFER TO SECTION: Event Impacts and Evaluation 11. In the context of events, Key Performance Indicators (KPIs) are: a. b. c. d.

Standards in management practice Industry standards of good practice The goals and objectives an event sets for itself Government codes and standards

ANS: C. The goals and objectives an event sets for itself FEEDBACK: Moderate.

REFER TO SECTION: Post-Event Evaluation 12. In the context of event evaluation, a demographic profile: a. b. c. d.

Is a count of the number of people who attended the event across years Is a study of event participants, to measure intentions to return, and their reasons Is an analysis of the regions where event participants are coming from Paints a picture of the event's audience to assist marketing efforts

ANS: D. Paints a picture of the event's audience to assist marketing efforts FEEDBACK: Moderate.

REFER TO SECTION: Post-Event Evaluation

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Chapter 16: Event evaluation and research

13. An event evaluation can be used to build an event's reputation and credibility by: a. b. c. d.

Demonstrating a commitment to professional management standards Measuring and communicating the event's benefits to key stakeholders Putting the event management's own 'spin' on an event shortfalls Demonstrating an ability to work with economic and 'hard' data

ANS: B. Measuring and communicating the event's benefits to key stakeholders FEEDBACK: Moderate.

REFER TO SECTION: Post-Event Evaluation 14. In the context of event evaluation, knowledge management refers to: a. b. c. d.

Using techniques to determine what went right and what went wrong Holding on to key management staff who possess indispensable expertise Creating a store of knowledge that can be used in the ongoing management of the event Using scientifically measured information about the event to manage people and processes

ANS: C. Creating a store of knowledge that can be used in the ongoing management of the event FEEDBACK: Moderate.

REFER TO SECTION: Knowledge Management 15. In the context of knowledge management, the transfer of knowledge can be formalised through: a. b. c. d.

Post-event review meetings, involving everybody in the management team Post-event evaluations The publication of event evaluations The development of standard procedure manuals

ANS: D. The development of standard procedure manuals FEEDBACK: Difficult.

REFER TO SECTION: Knowledge Management 16. Qualitative data are: a. b. c. d.

Anecdotal and suitable for narrative analysis Anecdotal and suitable for statistical analysis Measurable and suitable for narrative analysis Measurable and suitable for statistical analysis

ANS: A. Anecdotal and suitable for narrative analysis FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process

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Testbank to accompany Festival and Special Event Management by Allen et al.

17. Quantitative data are: a. b. c. d.

Anecdotal and suitable for narrative analysis Anecdotal and suitable for statistical analysis Measurable and suitable for narrative analysis Measurable and suitable for statistical analysis

ANS: D. Measurable and suitable for statistical analysis FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 18. In evaluating the success of a media strategy, media monitors will often: a.

b. c. d.

Put a dollar value on media coverage that is less than the cost of equivalent advertising space, because the event has more control over advertising, and it is specifically designed to persuade people Put a dollar value on media coverage that is equal to the cost of equivalent advertising space, since they serve broadly the same purpose Put a dollar value on media coverage that is more than the cost of equivalent advertising space, because the people will trust editorial coverage more than advertising Avoid putting dollar values to media coverage, because good publicity is priceless

ANS: C. Put a dollar value on media coverage that is more than the cost of equivalent advertising space, because the people will trust editorial coverage more than advertising FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 19. In terms of collecting data for the event evaluation process, focus groups are: a. b. c. d.

Particular market segments about which information is sought Directed discussions involving small groups of similar people Directed discussions involving a diverse range of people, ideally representative of different groups within the event's audience A small group of regular event attendees, whose attitudes and experiences are tracked over time

ANS: B. Directed discussions involving small groups of similar people FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 20. In terms using surveys to collect data for the event evaluation, open questions: a. b. c. d.

Provide greater opportunity for the respondent to express their opinions, and are easier to quantify Provide greater opportunity for the respondent to express their opinions, but are harder to quantify Provide less opportunity for the respondent to express their opinions, but are easier to quantify Provide less opportunity for the respondent to express their opinions, and are harder to quantify © John Wiley & Sons Australia, Ltd 2010 6

Chapter 16: Event evaluation and research

ANS: B. Provide greater opportunity for the respondent to express their opinions, but are harder to quantify FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 21. In terms using surveys to collect data for the event evaluation, closed questions: a. b. c. d.

Provide greater opportunity for the respondent to express their opinions, and are easier to quantify Provide greater opportunity for the respondent to express their opinions, but are harder to quantify Provide less opportunity for the respondent to express their opinions, but are easier to quantify Provide less opportunity for the respondent to express their opinions, and are harder to quantify

ANS: C. Provide less opportunity for the respondent to express their opinions, but are easier to quantify FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 22. In terms using surveys to collect data for the event evaluation, a good questionnaire should: a. b. c. d.

Focus on questions that give respondents the most freedom to express themselves Focus on questions that limit the range of responses to something manageable Focus on questions that are easily quantifiable Include a mix of open and closed questions

ANS: D. Include a mix of open and closed questions FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 23. In terms of collecting data for the event evaluation process, secondary data sources are secondary in the sense that they: a. b. c. d.

Generate data that is less useful that other sources of data They are employed less often for various reasons, than other sources of data They arrive second-hand, i.e. they were gathered by somebody else for another purpose The are of greater degree of sophistication than primary data

ANS: C. They arrive second-hand, i.e. they were gathered by somebody else for another purpose FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process

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Testbank to accompany Festival and Special Event Management by Allen et al.

24. In terms of collecting data for the event evaluation process, a useful source of secondary data for an event manager is: a. b. c. d.

Research bureaus Web searches Journal databases All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 25. In the context of the event evaluation process, the data analysis: a. b. c. d.

Enables the calculation of frequencies (e.g. what percentage of attendees rated the event as 'poor' etc) Enables the calculation of average (e.g. average spend at the event etc) Enables the presentation of data in easy to read graphs and tables All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 26. In the context of reporting the event evaluation, the key factor determining the style of report, the amount of detail and overall presentation is: a. b. c. d.

What does the report seek to achieve?

Who is the report being written for?

What is the central message?

Who is writing the report?

ANS: B. Who is the report being written for?

FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 27. In the context of the event evaluation process, the final step is the: a. b. c. d.

Analysis Reporting Dissemination Recrimination

ANS: C. Dissemination FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process

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Chapter 16: Event evaluation and research

28. The Encore Festival and Event Evaluation Kit: a. b. c. d.

Is a standardised, computerised tool for the evaluation of events Is a standardised report generator, designed especially for event stakeholders Is a kit of survey sheets and standardised questionnaires All of the above

ANS: A. Is a standardised, computerised tool for the evaluation of events FEEDBACK: Difficult.

REFER TO SECTION: The Event Evaluation Process 29. The Encore Festival and Event Evaluation Kit provides: a. b. c. d.

A demographic module for analysing the profile of attendees An economic module, for analysing the economic impact of the event A marketing module, designed to assist marketing efforts All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process 30. The Encore Festival and Event Evaluation Kit also includes: a. b. c. d.

A tool for preparing surveys and questionnaires A tool for calculating expenditure attributed to the event A reporting tool, which presents results in graphs and tables All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: The Event Evaluation Process

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Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY QUESTIONS 31. What indicators might be used in a holistic triple bottom line approach to event evaluation?

Raybould et al. (2005) have developed a holistic triple-bottom-line approach to the economic, social and environmental impacts of events. They identify key performance indicators in each of the three domains and suggest a technique for examining them holistically by providing a framework for dealing with the inevitable trade-off between positive and negative impacts within the three domains.

For economic impacts, they suggest using traditional indicators such as the net income as a ratio over the expenditure necessary to host the event, the financial yield of visitors and the net benefits per person of the event to the host community.

For social impacts, they propose using a range of indicators such as the percentage of locals who attend, volunteer for or are employed by the event; the percentage of local businesses contracted to supply goods and services; the value of access to new facilities developed, or access to facilities denied to locals during the event; crime reported associated with the event; crowd management incidents; traffic counts or dollar value of time lost in traffic; and the quantity and quality of media exposure generated by the event.

For environmental impacts, they suggest indicators such as the energy consumed at the venue and in transport to the event, water consumed at the event, waste water recycled, waste generated at the event and waste recycling.

REFER TO SECTION: Event Impacts and Evaluation

32. In the event evaluation process, what is a demographic profile? Why is it useful?

It is useful for an event manager to know, not only the number of people who attended the event, but also where they came from, how they heard about it and demographic details such as age range, gender, levels of education and income. This is the demographic profile, and surveying techniques, or ticketing data can help paint this picture.

Establishing an accurate demographic profile of the audience will enable marketing strategies to be refined and the spending of marketing funds to be better targeted.

REFER TO SECTION: Post-event Evaluation

33. Should event management processes be included in an event evaluation?

A key purpose of post-event evaluation is to examine the processes used by the event manager in the planning and conduct of the event. By careful analysis of these processes the event manager will improve not only the outcomes of the event, but also their own skills and techniques in managing it. The use of computers allows the event manual to be reviewed, refined and used for the next incarnation of the event. Important questions to consider are whether the budget and resources were adequate, whether the critical path timeline was sufficient and whether key documents such as marketing, operations and risk management © John Wiley & Sons Australia, Ltd 2010 10

Chapter 16: Event evaluation and research

plans, policies and procedures and checklists can be revised and updated for future use. In this way, by evaluating the processes of organising the event, event managers can improve and refine their own professional skills and practices.

REFER TO SECTION: Post-event Evaluation

34. Will all an event's stakeholders want the same thing from the event evaluation?

What are different stakeholders likely to want out of the process?

The first step is to define the purposes of the evaluation and therefore what data will need to be collected. There will often be a number of complementary agendas in relation to the needs of different stakeholders in events: • The host organisation will want to know what the event achieved. Did the event come in on budget and on time? Did it achieve its objectives? How many people attended and were their expectations met?

• The event sponsor may have other measures. Was the level of awareness of the product or service increased? What penetration did the event advertising achieve?

What media coverage was generated? What was the demographic profile of the people who attended?

• Funding bodies will have grant acquittal procedures to observe and will usually require audited financial statements of income and expenditure, along with a report on the social, cultural or sporting outcomes of the event.

• Councils and government departments may want to know what the impact was on their local or state economies.

• Tourism bodies may want to know the number of visitors attracted to the area and what they spent, not only on the event, but also on travel, shopping and accommodation.

All of these complementary and overlapping agendas must be taken into account in determining the purposes of the evaluation.

REFER TO SECTION: The Event Evaluation Process

35. How might stakeholder observation help in the evaluation of an event?

Key players in an event, such as venue owners, councils, sponsors, vendors, police and firstaid officers, can often provide valuable feedback from their various perspectives.

• Venue owners may be able to compare the performance of the event with their normal venue patterns and comment usefully on matters such as attendance figures, parking, access, catering and facilities.

• Police may have observed aspects such as crowd behaviour, traffic flow and parking and may have constructive suggestions for future planning.

• Councils may be aware of disturbances to the local community or difficulties with street closures or compliance with health regulations.

• Sponsors may have observations based on their own attendance at the event, or may have done their own surveys of audience reaction, awareness levels and media coverage.

• Vendors may have information on the volume of sales or the waiting time in queues that will be valuable in planning future catering arrangements. © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management by Allen et al.

•

First-aid providers may provide statistics on the number and seriousness of injuries such as cuts, abrasions or heat exhaustion that will assist in future planning of safety and risk management.

All of these key stakeholders may have observations on general planning issues such as signage, access, crowd management, communication and the provision of facilities that will have implications for improvement of the event. It is important that their observations are recorded and incorporated into the evaluation and planning stages of the event management process.

REFER TO SECTION: The Event Evaluation Process

36. In the context of the event evaluation process, what is the difference between qualitative and quantitative data?

There are two different types of data, both of which will often be involved in the event evaluation process. Qualitative data are based on individual perceptions and responses and are often obtained through informal and in-depth interviews, focus groups, staff feedback, and participant observation. They can provide valuable insights, but are often anecdotal and lend themselves to narrative rather than statistical analysis.

By contrast, quantitative data are measurable and subject to statistical analysis. Data are often collected via methods such as box office receipts, financial records and surveys, and lend themselves to conclusions based on statistical analysis.

Both forms of data can play a valuable role in the event evaluation process, but their use will need to be carefully balanced in order to provide a total picture of the event.

REFER TO SECTION: The Event Evaluation Process

37. How might a post-event evaluation enhance an event's reputation?

Capturing and disseminating the achievements of an event can assist greatly in building its reputation and credibility. Thus some events make extensive use of their final reports to gain media exposure and support. This becomes critical when the reputation of an event has been damaged by negative publicity, as was the case when the AIGP withdrew from the Gold Coast Indy in 2009, and additional V8 Supercar races were scheduled to create the Nikon SuperGP event (Jabour 2009). Other events use the reporting of event outcomes to gain public acceptance, as the Sydney Gay and Lesbian Mardi Gras has done by issuing frequent reports of the economic impacts of the event. Governments also report regularly on the economic impacts of major events in order to gain political advantage by demonstrating the benefits of the events as a result of their investment and support.

REFER TO SECTION: Post-event Evaluation

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Chapter 16: Event evaluation and research

38. In the context of events, what basic principles can be used to construct a useful survey or questionnaire?

Surveys can be used in many ways to support the evaluation of an event. Whatever the scale and approach that is decided on, experts agree on certain basic factors that should go towards the successful design of a survey. These are: • purpose — clearly identify the purpose and objectives of the survey. A clearly stated and defined purpose is most likely to lead to a well-targeted survey with effective results.

• survey design — keep it simple. If too much is attempted by the survey, there is a danger that focus will be lost and effectiveness reduced. Questions should be clear and unambiguous and should be tested by a pilot study before the actual survey.

• language — questions should use a suitable vocabulary and be grouped around topics.

Avoid using ‘leading’ questions that encourage pre-conceived answers, and the use of biased or emotive language.

• open versus closed questions — an open question is one that invites the interview subject to answer without prompting a range of responses. A closed question is one where the interview subject is offered a range of answers to choose from, such as rating an item on a scale of 1–5 or on a range of poor to excellent. Open questions can provide a greater opportunity for the respondent to express their opinion, but are harder to quantify. Closed questions are more restricted, but lend themselves to easier coding and analysis. A good questionnaire form should seek an appropriate balance between open and closed questions.

• size of sample — the number of participants must be large enough to provide a representative sample of the audience. The sample size will depend on the variability in the population to be sampled, the level of precision required and the available budget.

• randomness — the methodology employed in the selection of participants must avoid biases of age, sex and ethnicity. A procedure such as selecting every tenth person who passes by a specified point may assist in providing a random selection.

• support data — the calculation of some outcomes will depend on the collection of support data. The calculation of total visitor expenditure, for example, will require accurate data on the average expenditure of visitors as well as support data on the number of visitors to the event. Then the spending pattern revealed by the survey can be multiplied by the number of visitors to provide an estimate of the total visitor expenditure for the event.

REFER TO SECTION: The Event Evaluation Process

39. What happens once the evaluation is complete and the report is written? How is this done?

The final step in the post-event evaluation process is to disseminate the event report to relevant stakeholder groups. This may be done by face-to-face meetings with key stakeholders such as the host organisation, government and sponsors, where the content of the report can be verbally communicated and discussed. For the host organisation this may represent an important closure and for sponsors it may give rise to a discussion on continued involvement with the event. It is worth considering additional formats of the report, for example a PowerPoint presentation may be prepared for face-to-face presentations, or a media release © John Wiley & Sons Australia, Ltd 2010 13

Testbank to accompany Festival and Special Event Management by Allen et al.

may be prepared to accompany distribution of the report to the media. If the event report is well written and carefully distributed, it can be an important tool for enhancing the reputation and future prospects of the event.

REFER TO SECTION: The Event Evaluation Process

40. What does the economic module in the Encore Festival and Event Evaluation Kit do?

This module calculates the direct in-scope expenditure that results from the event in a given region. This refers to the amount of new money attracted to the host region that would not have entered the region if the event had not been held. Direct in-scope expenditure can be fed directly into a computable general equilibrium (CGE) model or an input/output model to assess the flow-on effect on the local economy and produce an economic impact figure for the event. It is calculated by assessing: • the expenditure of visitors from outside the region to the event • the event-related income generated by the organisers from outside the region and spent within the region.

The region must first be clearly defined, usually as a city name or a regional description. The event expenditure of locals within the region will not be counted, as it is assumed that this money would have been spent on other goods or services had the event not been held. The expenditure of visitors from outside the region whose primary purpose was not to attend the event is also excluded, as it is assumed that they would have visited the region even if the event had not been held. An exception would be if the event had caused them to extend their visit, in which case their expenditure for the extended period of their visit would be counted.

The event organiser may wish to collect these data for other purposes, but they are not included in the direct in-scope expenditure of the event.

REFER TO SECTION: The Event Evaluation Process

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Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 17: Legal Issues of Event Management MULTIPLE CHOICE 1.

In the context of events, the legal owner is:

a. b. c. d.

The event coordinator or management committee A specially determined separate legally entity The event sponsors Any of the above, depending on the event administration structure

ANS: D. Any of the above, depending on the event administration structure FEEDBACK: Easy.

REFER TO SECTION: Introduction 2.

In the context of events, legal responsibility, and therefore liability, is tied to:

a. b. c. d.

Contracts Admissions of liability Ownership of the event Financial commitments

ANS: C. Ownership of the event FEEDBACK: Moderate.

REFER TO SECTION: Introduction 3.

The phrase 'jointly and severally liable' refers to the legal concept that:

a. b. c. d.

Sponsors can only be held partially liable Ownership entails legal responsibility and liability All individuals in an events committee are equally liable All liability can be limited by contract

ANS: B. Ownership entails legal responsibility and liability FEEDBACK: Moderate.

REFER TO SECTION: Introduction 4.

The organising committee of a non-profit event can become a legal entity by:

a. b. c. d.

Forming an incorporated association Adopting a constitution Registering their event with the relevant state body Demonstrating membership of over 30 persons, or capital of over $5000

ANS: A. Forming an incorporated association FEEDBACK: Moderate.

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Chapter 17: Legal issues of event management

5.

In the context of the organising committee of a non-profit event, limited liability means that members have only limited liability for:

a. b. c. d.

Any financial debts the organisation incurs Any incidents of negligence Any incidents relating to duty of care All of the above

ANS: A. Any financial debts the organisation incurs FEEDBACK: Moderate.

REFER TO SECTION: Introduction 6.

An association's constitution is a list of rules that state the procedures and powers of the association relating to:

a. b. c. d.

Auditing and accounting matters The powers of the governing body Winding up procedures All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Introduction 7.

In many cases, community and local festivals do not form a separate incorporated association because:

a. b.

The risk of a liability case arising does not justify the work involved in incorporating They are able to apply for exemption, if they can demonstrate that their net earnings are less than $6500 per annum They are able to function under the legal umbrella of another body, like a local council They have set up 'sham' companies to act as a front

c. d.

ANS: C. They are able to function under the legal umbrella of another body, like a local council FEEDBACK: Moderate.

REFER TO SECTION: Introduction 8.

In a legal sense, a contract is:

a. b. c.

Any agreement between two parties, committed to paper Any agreement that involves money changing hands Any agreement between two parties in which there is a promise to do something in return for a certain benefit Any agreement between 2 parties, where both parties are deemed to benefit

d.

ANS: C. Any agreement between two parties in which there is a promise to do something in return for a certain benefit FEEDBACK: Difficult.

REFER TO SECTION: Contracts © John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management by Allen et al.

9.

In the context of legal contracts, a consideration is:

a. b. c. d.

The consequences of not delivering on the promise stated The benefit received in return for doing something The good or service being exchanged for a particular benefit A factor that affects the contract, but is not explicitly stated

ANS: B. The benefit received in return for doing something FEEDBACK: Difficult.

REFER TO SECTION: Contracts 10. A contract is: a. b. c. d.

A verbal agreement A simple letter of agreement A formal document, drawn up by lawyers All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Contracts 11. Once agreed upon, contracts: a. b. c. d.

Are often subject to changes, due to external factors Are set in stone, providing certainty to both parties Need to be actively monitored and can be reviewed if necessary All of the above

ANS: C. Need to be actively monitored and can be reviewed if necessary FEEDBACK: Easy.

REFER TO SECTION: Contracts 12. In the context of entertainment contracts, a 'rider' is: a. b. c. d.

The terms and conditions of the performance fee An agreement around the provision of drinks and food, additional to the performance fee An addition to the contract that specifies any benefits additional to the performance fee An agreement of understanding about how the artists will be treated and respected

ANS: C. An addition to the contract that specifies any benefits additional to the performance fee FEEDBACK: Moderate.

REFER TO SECTION: Contracts

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Chapter 17: Legal issues of event management

13. In the context of entertainment contracts, an exclusivity clause is: a. b. c. d.

A condition that the artist does not perform in the same geographic area as the event, for a certain period either side of the event An clause specifying that the event does not book an act of similar calibre and genre as the act specified in the contract An agreement that the act shall feature prominently in all promotions A declaration that the party representing the act is the only party representing the act

ANS: A. A condition that the artist does not perform in the same geographic area as the event, for a certain period either side of the event FEEDBACK: Moderate.

REFER TO SECTION: Contracts 14. In a contract between an event organisation and a venue, a security deposit is: a. b. c. d.

A partial payment towards the security required for the event A deposit paid to secure the exclusive use of the venue on the event date A deposit to cover the venue in case the promised bar-spend per person does not eventuate A deposit that will be used to pay for any additional cleaning or repairs that might result from the event

ANS: D. A deposit that will be used to pay for any additional cleaning or repairs that might result from the event FEEDBACK: Moderate.

REFER TO SECTION: Contracts 15. In the context of sponsor contracts, an exclusivity clause is: a. b. c. d.

A condition that the sponsor does not sponsor any other event in the same geographic area as the event, for a certain period either side of the event An clause specifying that the event will not receive sponsorship from any other company in the same line of business as a sponsor An agreement that the sponsor shall have exclusive access to celebrity talent A declaration that the parties representing the event and the sponsor are the only parties representing the event and the sponsor

ANS: B. An clause specifying that the event will not receive sponsorship from any other company in the same line of business as a sponsor FEEDBACK: Moderate.

REFER TO SECTION: Contracts 16. In the context of sponsor contracts, an example of a hospitality right is: a. b. c. d.

The right to award the winner's trophy The right to name the event Complimentary tickets The right to be the sole provider of confectionery and drinks at the event

ANS: C. Complimentary tickets © John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management by Allen et al.

FEEDBACK: Moderate.

REFER TO SECTION: Contracts 17. In the context of sponsor contracts, an example of an interaction right is: a. b. c. d.

The right to award the winner's trophy The right to name the event Complimentary tickets The right to be the sole provider of confectionery and drinks at the event

ANS: A. The right to award the winner's trophy FEEDBACK: Moderate.

REFER TO SECTION: Contracts 18. When constructing a contract, a 'heads of agreement' is: a. b. c. d.

A statement of intention to use a particular supplier A formal summary of an agreement reached after preliminary negotiations A formal summary of an agreement reached after final negotiations The portion of a final contract above the fine print details

ANS: B. A formal summary of an agreement reached after preliminary negotiations FEEDBACK: Difficult.

REFER TO SECTION: Contracts 19. In a legal sense, duty of care refers to: a. b. c. d.

The guiding principle emergency services are obliged to Obligations owed to people of whom you are the legal guardian Taking all reasonable care to avoid injuring somebody Participant's obligations to look after and protect themselves, within normal reason

ANS: C. Taking all reasonable care to avoid injuring somebody FEEDBACK: Moderate.

REFER TO SECTION: Duty of Care 20. In a legal sense, a tort is: a. b. c. d.

A breach of duty owed to other people and imposed by law A breach of a legally binding contract A breach of industry standards and codes A breach of the Trade Practices Act

ANS: A. A breach of duty owed to other people and imposed by law FEEDBACK: Moderate.

REFER TO SECTION: Duty of Care

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Chapter 17: Legal issues of event management

21. In the way that criminal law is concerned with deterrence and punishment, the law of tors is concerned with: a. b. c. d.

Duty of care Incentives Compensation Responsibility

ANS: C. Compensation FEEDBACK: Difficult.

REFER TO SECTION: Duty of Care 22. For an event manager, the duty of care extends to: a. b. c. d.

Staff, volunteers and performers The audience or event participants The people in surrounding areas All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Duty of Care 23. Which of the following is an example of misleading advertising? a. b. c. d.

“Australia's favourite beer!” when there is generally no Australia-wide consensus on the matter “See the game's best!” when some of the game's top ranked players will be absent “Featuring Thrasher, the world's most awesome monster truck”, when there is no contract and just an expression of interest on behalf of Thrasher's management “The night of your life!” when the line-up involves mostly B-grade celebrities

ANS: C. “Featuring Thrasher, the world's most awesome monster truck”, when there is no contract and just an expression of interest on behalf of Thrasher's management FEEDBACK: Easy.

REFER TO SECTION: Legal Issues with Marketing Events 24. Misleading representations, according to the Trade Practices ACT, refer to untrue representations regarding a product or a company's: a. b. c. d.

Quality – e.g. 100% organic Sponsorship – e.g. Proud sponsor of the Australian Open Approval – e.g. Approved by the National Heart Foundation All of the above

ANS: D. All of the above FEEDBACK: Easy.

REFER TO SECTION: Legal Issues with Marketing Events

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Testbank to accompany Festival and Special Event Management by Allen et al.

25. Events should keep records, because a claim can be made against an event: a. b. c. d.

Up to 2 years after the event Up to 4 years after the event Up to 6 years after the event Up to 10 years after the event

ANS: C. Up to 6 years after the event FEEDBACK: Moderate.

REFER TO SECTION: Insurance 26. In the context of Insurance for events, bulk buying refers to: a. b. c. d.

Buying policies that extend over a number of years, at a discount Events and event companies forming pools to get discounted rates from insurers Using the insurance company for other financing needs, and bundling these products together, in order to receive a discount Processing a number of claims at the same time, in order to receive a discount

ANS: B. Events and event companies forming pools to get discounted rates from insurers FEEDBACK: Moderate.

REFER TO SECTION: Insurance 27. Whose responsibility is it to make sure that an event that an event complies with all pertinent rules and regulations? a. b. c. d.

Local council State government The event manager Police and traffic authorities

ANS: C. The event manager FEEDBACK: Easy.

REFER TO SECTION: Regulations, Licences and Permits 28. From a legal perspective, in Australia a performance is regarded as a 'public performance' even if: a. b. c. d.

The performance is given for free and no admission is charged The audience is small The audience is confined to members of a club All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Regulations, Licences and Permits

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Chapter 17: Legal issues of event management

29. In Australia, the Australasian Performing Rights Association (APRA): a. b. c. d.

Represents copyright owners when musical compositions are being recorded Represents copyright owners when recorded music is publicly performed Represents copyright owners when musical works are public performed Represents copyright owners when musical compositions are being choreographed into performances

ANS: C. Represents copyright owners when musical works are public performed FEEDBACK: Difficult.

REFER TO SECTION: Regulations, Licences and Permits 30. In Australia, the Phonographic Performance Company of Australia (PPCA): a. b. c. d.

Represents copyright owners when musical compositions are being recorded Represents copyright owners when recorded music is publicly performed Represents copyright owners when musical works are public performed Represents copyright owners when musical compositions are being choreographed into performances

ANS: B. Represents copyright owners when recorded music is publicly performed FEEDBACK: Difficult.

REFER TO SECTION: Regulations, Licences and Permits

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Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY QUESTIONS 31. What is a contract? What does it contain?

A contract can be defined as ‘an agreement with specific terms between two or more persons or entities in which there is a promise to do something in return for a valuable benefit known as consideration’. It is at the heart of most business dealings. It contains the following elements: • an offer • an acceptance of that offer which results in a meeting of minds • a promise to perform • a valuable consideration (which can be a promise or payment in some form) • a time or event when performance must be made (meet commitments) • terms and conditions for performance, including fulfilling promises • performance.

A contract can be either a written or an oral agreement. It may frequently take the form of a simple letter of agreement, not more than a page in length which incorporates the elements mentioned.

However, when large amounts of money and important responsibilities are involved, a formal contract drawn up by lawyers is often necessary.

REFER TO SECTION: Contracts

32. What would a contract between an events company organising a corporate party and an musical performance be likely to contain?

As Goldblatt (1997) explains, a typical event industry contract will contain: • the names of the contracting parties, the events company and the act, their details and their trading names (which may be different from their 'public' names) • details of the service or product that is offered (in this case, the musical performance and the details of times and dates) • the terms of exchange for the musical performance, (length, nature of performance etc) • the method of solving any disagreements • the signature of both parties indicating understanding of the terms of exchange and agreement to the conditions of the contract.

To make this mutual obligation perfectly clear to all parties, the contract would set out all key elements. These would consist of financial terms (including a payment schedule); a cancellation clause; delivery time; the rights and obligations of each party; and an exact description of the goods and services being exchanged.

REFER TO SECTION: Contracts

33. What contracts would a day-long community music festival need?

The community music festival would require formal contracts setting out the arrangements between itself and: • The events company or coordinator, if they are using one • The entertainers, musical acts, roving performers etc © John Wiley & Sons Australia, Ltd 2010 10

Chapter 17: Legal issues of event management • • •

The venue, such as an agreement with the council if the festival takes place in a park, or with the hall owners if the festival takes place in-doors The suppliers (for example, security, audiovisual, caterers, any stall holders) The festival's sponsors.

For smaller events, these details may be arranged by letters of agreement, and depending on the needs of the festival, this may be sufficient.

REFER TO SECTION: Contracts

34. A company is negotiating with a hotel convention centre to host their annual conference.

What is usually contained in the Venue contract?

The venue contract can have specialist clauses, including indemnifying the venue against damage, personnel requirements and the provision of security staff. The venue contract between the company and the convention centre would probably contain these elements: • security deposit — an amount, generally a percentage of the hiring fee, to be used for any additional work such as cleaning and repairs that result from the conference • cancellation — outlining the penalty for cancellation of the event and whether the company will receive a refund if the convention centre is re-hired at that time • access — including the timing of the opening and closing of the doors and actual use of the entrance ways • late conclusion — the penalty for the event going over time • additions or alterations — possible changes to the internal structures of the convention centre • signage — the signs of any sponsors and other advertising (venue management approval may be required for all promotional material) • cost — the cost of hiring the venue for the required time. For an event like this one, the hotel may charge on a per person per day fee basis that includes all food, beverage and venue hire, rather than separate rates for each element, which reduces the fixed costs of the conference and makes it easier for the event manager to match expenditure and revenue.

REFER TO SECTION: Contracts

35. What elements and clauses might be contained in a broadcast contract between a major television network and a major sporting event?

Broadcast contracts can be very complex due to the large amounts of money involved in broadcasting and the production of related merchandise, such as videos and sound recordings. The important clauses in a broadcast contract address the following key components: • territory or region — the broadcast area (local, state or international) must be defined.

• guarantees — most important is the guarantee that the event company has the rights to sign for the whole event, because performers’ copyright can preclude any broadcast without written permission from their record and publishing companies.

• sponsorship — this area can present problems when different levels of sponsorship are involved. Sometimes the rights of the event sponsor and the broadcaster’s sponsors can clash, which can mean some delicate negotiations to resolve the difficulty. This is particularly applicable to sports events, where the match sponsor’s products can clash with © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management by Allen et al.

• • • •

an individual team member’s sponsorship. repeats, extracts and sub-licences — these determine the allowable number of broadcast repeats, whether the broadcaster is authorised to edit or take extracts from the broadcast and how such material can be used. merchandising — the contract may contain a clause that mentions the rights to own products originating from the broadcast. The ownership and sale of such recordings can be a major revenue source for an event. access — the physical access requirements of broadcasting must be part of the staging and logistic plan of the event. A broadcaster can easily disrupt an event by demanding to interview performers and celebrities. credits — this establishes, at the outset, the people and elements that will be listed in the titles and credits.

REFER TO SECTION: Contracts

36. How would an events company legally engage a lighting company to do the lighting at an event? How is a contract constructed?

The process of constructing a contract is comprised of five key steps: • intention — preliminary discussions between the events company and the lighting company to establish if the lighting company's products and services, as well as its price are suitable for the event • negotiation — once the lighting company has been deemed to be suitable, discussions take place on price and product enhancements until agreement has been reached to the satisfaction of both parties, which can be formalised in a summary known as a ‘heads of agreement’ • initial acceptance — the lighting company is then advised that their offer is provisionally accepted • agreement on terms — further discussions may then take place on the fine detail of the agreement, including elements such as payment terms and discounts for meeting volume targets • signing — once all details have been agreed upon they are incorporated in the contract, which is then signed by responsible officers of the lighting company and the events company.

REFER TO SECTION: Constructing a Contract

37. What does the legal concept of Duty of Care mean? What are the implications for events organisations?

Duty of care is a fundamental legal principle that refers to taking all reasonable care to avoid acts or omissions that could injure a ‘neighbour’. It is defined by the Legal Services Commission of South Australia (2010) as ‘the obligation of a person to exercise reasonable care in the conduct of an activity. Breach of a duty of care which causes damage or loss to another may give rise to an action in tort.’ A tort is a breach of duty owed to other people and imposed by law and, in this, it differs from the duties arising from contracts, which are agreed between contracting parties. Unlike criminal law, which is concerned with deterrence and punishment, the law of torts is concerned with compensation. © John Wiley & Sons Australia, Ltd 2010 12

Chapter 17: Legal issues of event management For event management, duty of care means taking actions that will prevent any foreseeable risk of injury to the people who are directly affected by, or involved in, the event. This would include event staff, volunteers, performers, the audience or spectators and the general public in the surrounding areas. Another duty of care is to ensure that the noise from an event (particularly music events) does not impinge upon the amenity of the venue’s neighbourhood.

REFER TO SECTION: Duty of Care

38. In the context of event marketing, what is legally permissible and what is 'misleading' or 'deceptive'?

In the marketing of events, hyperbole or ‘puffery’ is not illegal; terms that are not measurable or objective such as ‘game of the century’, ‘concert of a lifetime’, ‘see the world’s best’ are given a wide degree of latitude by the courts.

What is illegal is making misleading representations about elements of an event. This is defined by Section 51A of the Trades Practices Act 1974 (TPA) as ‘where a corporation makes a representation with respect to any future matter (including the doing of, or refusing to do any act) and the corporation does not have reasonable grounds for making the representation, the representation shall be taken as misleading’.

Section 52 of the TPA refers to misleading and deceptive conduct and states: ‘a corporation shall not, in trade or commerce, engage in conduct that is misleading or deceptive or is likely to mislead or deceive’. A corporation, in this case, would refer to the body producing the event.

Section 53 of the TPA refers to false representations as to quality, sponsorship and approval. The pertinent issue for event managers is (c) represent the goods or services have sponsorship approval, performance characteristic, accessories, uses or benefits they do not have; and (d) represent that a corporation has a sponsorship, approval or affiliation that it does not have.

Section 54 of the TPA refers to the promotional (or make representations in legalese) offers of gifts or prizes with an intention of not providing such prizes.

REFER TO SECTION: Legal Issues with Marketing Events

39. How have events companies responded to the recent increases in insurance premiums?

What strategies have been implemented in order to keep premiums down?

The cost of premiums in all insurance areas is a burden on the event industry and also to community festivals. A number of strategies have been implemented to manage this situation: • bulk buying. — a number of events and event companies could pool their insurance premiums and approach insurance brokers with a large pool of funds in order to negotiate bulk discounts.

• analysing the activities of the event into levels of risk — the high premium may be the result of one aspect of the event. By changing or eliminating this from the event program it may reduce the event risk seen by the insurance company.

• creating a comprehensive risk management procedure — many events that previously ignored risk management have turned to the formal risk management process. This is one positive outcome of the insurance issue. The risk management plan becomes a document © John Wiley & Sons Australia, Ltd 2010 13

Testbank to accompany Festival and Special Event Management by Allen et al.

• •

used to communicate with the insurance company. Given the experience of insurance companies, it is wise to seek their input on this document. capping liability — some state governments have enacted maximum levels of payouts for damages sustained at an event. This allows insurance companies to predict their payments and, therefore, lower the premiums for public liability. holding harmless clauses or forfeiting the right to sue — the attendee signs a contract to the effect that they are voluntarily assuming the risk inherent in the event activity. This requires legal advice as there has not been tested in court.

REFER TO SECTION: Insurance

40. A small community event is considering incorporating a musical element into their performances. What regulations must the event be aware of?

The event must be aware of any rights attached to the music it uses in its performances, and the regulations that exist around this use. This applies regardless of whether the music is performed live, or played as a recording.

The Australasian Performing Rights Association (APRA) issues licences for the performance of its members’ works. So when an event company decides to set fireworks to music for example, it is not just a matter of hiring a band, or playing recorded music. Concerts, festivals, and any event where recorded or live copyright music is played or performed, require a license from APRA. In the first instance, the onus lies with the promoting entity to apply, and then enter into the relevant license agreement, although APRA may contact the organiser in the lead up to the event.

The Phonographic Performance Company of Australia (PPCA) performs a similar role in regard to the public performance of recorded music. if an event plans to play any recorded music at an event they must receive a licence from the PPCA and pay any fees.

That is, PPCA represents copyright owners in sound recordings; a sound recording licence is required when recordings are publicly performed. APRA represents copyright owners in musical works (compositions and lyrics); a musical work licence is required whenever musical works are performed in public.

It is therefore a good idea for the event manager to check with APRA and PPCA if it is planned to play recorded or live music at the event to ensure that they are not contravening any performers’ copyright.

REFER TO SECTION: Regulations, Licences and Permits

© John Wiley & Sons Australia, Ltd 2010 14

Testbank to accompany

Festival and Special Management 5th Edition by Allen et al

Prepared by Thomas Keily

© John Wiley & Sons Australia, Ltd 2010

Testbank to accompany Festival and Special Event Management by Allen et al.

Chapter 18: Risk Management MULTIPLE CHOICE 1.

Event risk can be defined as:

a. b. c.

Any negative incident that might occur during the course of the event Any future incident that could negatively affect the event Any future incident that could threaten the safety of participant's of the event, or the broader public Any negative incident that could impact on the event's financials

d.

ANS: B. Any future incident that could negatively affect the event FEEDBACK: Easy.

REFER TO SECTION: Introduction 2.

Risk management seeks to identify and manage possible threats to:

a. b. c. d.

People's safety The financial position of the event The reputation of the event The success of the event

ANS: D. The success of the event FEEDBACK: Moderate.

REFER TO SECTION: Introduction 3.

Risk management is the process of:

a. b. c. d.

Identifying potential problems Assessing potential problems Dealing with potential problems All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Introduction 4.

An example of a risk in the area of administration is:

a. b. c. d.

Food poisoning Not having the proper permits in place in time Attendees fighting with each other Promising features that cannot be delivered

ANS: B. Not having the proper permits in place in time FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process © John Wiley & Sons Australia, Ltd 2010 2

Chapter 18: Risk management

5.

An example of a risk in the area of marketing and public relations is:

a. b. c. d.

Food poisoning Not having the proper permits in place in time Attendees fighting with each other Promising features that cannot be delivered

ANS: D. Promising features that cannot be delivered FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 6.

An example of a risk in the area of health and safety is:

a. b. c. d.

Food poisoning Not having the proper permits in place in time Attendees fighting with each other Promising features that cannot be delivered

ANS: A. Food poisoning FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 7.

An example of a risk in the area of crowd management is:

a. b. c. d.

Insufficient public transport Not having the proper permits in place in time Attendees fighting with each other Theft of box-office takings

ANS: C. Attendees fighting with each other FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 8.

An example of a risk in the area of security is:

a. b. c. d.

Insufficient public transport Not having the proper permits in place in time Attendees fighting with each other Theft of box-office takings

ANS: D. Theft of box-office takings FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process

© John Wiley & Sons Australia, Ltd 2010 3

Testbank to accompany Festival and Special Event Management by Allen et al.

9.

An example of a risk in the area of transport is:

a. b. c. d.

Insufficient public transport Not having the proper permits in place in time Attendees fighting with each other Theft of box-office takings

ANS: A. Insufficient public transport FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 10. Risk management is a process that: a. b. c. d.

Precedes all other steps in the event production process Comes after all steps in the event production process, to ensure that no unidentified risks remain Cuts across all knowledge areas, as each step comes to completion Is constant and cuts across all knowledge areas

ANS: D. Is constant and cuts across all knowledge areas FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 11. In the risk management process, the risk register is: a. b. c. d.

A list of an event's identifiable risks, which is constantly updated A formal declaration of an event's risk to the event's insurer The description and analysis of an event's risks, and their treatment All of the above

ANS: C. The description and analysis of an event's risks, and their treatment FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 12. A work breakdown structure (WBS) can be used to identify risks by: a. b. c. d.

Using an event's suppliers to build up a knowledge bank of risk areas Isolating event work areas and analysing sources of risk that might arise from each Using a self-funded rehearsal to demonstrate the event's features Identifying negative outcomes and imagining possible causes for such outcomes

ANS: B. Isolating event work areas and analysing sources of risk that might arise from each FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process

© John Wiley & Sons Australia, Ltd 2010 4

Chapter 18: Risk management

13. A test event can be used to identify risks by: a. b. c. d.

Using an event's suppliers to build up a knowledge bank of risk areas Isolating event work areas and analysing sources of risk that might arise from each Using a self-funded rehearsal to demonstrate the event's features Identifying negative outcomes and imagining possible causes for such outcomes

ANS: C. Using a self-funded rehearsal to demonstrate the event's features FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 14. A fault diagram can be used to identify risks by: a. b. c. d.

Using an event's suppliers to build up a knowledge bank of risk areas Isolating event work areas and analysing sources of risk that might arise from each Using a self-funded rehearsal to demonstrate the event's features Identifying negative outcomes and imagining possible causes for such outcomes

ANS: D. Identifying negative outcomes and imagining possible causes for such outcomes FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 15. Consultation can be used to identify risks by: a. b. c. d.

Using an event's suppliers to build up a knowledge bank of risk areas Isolating event work areas and analysing sources of risk that might arise from each Using a self-funded rehearsal to demonstrate the event's features Identifying negative outcomes and imagining possible causes for such outcomes

ANS: A. Using an event's suppliers to build up a knowledge bank of risk areas FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 16. Which of the following is an example of the risk control strategy of reducing the severity of risk? a. b. c. d.

Engaging a variety of sponsors, rather than a single large sponsor Installing back-up generators Insisting performers have their own public liability insurance Training staff in first aid

ANS: D. Training staff in first aid FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process

© John Wiley & Sons Australia, Ltd 2010 5

Testbank to accompany Festival and Special Event Management by Allen et al.

17. Which of the following is an example of the risk control strategy of devising alternatives? a. b. c. d.

Engaging a variety of sponsors, rather than a single large sponsor Installing back-up generators Insisting performers have their own public liability insurance Training staff in first aid

ANS: B. Installing back-up generators FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 18. Which of the following is an example of the risk control strategy of distributing risk? a. b. c. d.

Engaging a variety of sponsors, rather than a single large sponsor Installing back-up generators Insisting performers have their own public liability insurance Training staff in first aid

ANS: A. Engaging a variety of sponsors, rather than a single large sponsor FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 19. Which of the following is an example of the risk control strategy of transferring risk? a. b. c. d.

Engaging a variety of sponsors, rather than a single large sponsor Installing back-up generators Insisting performers have their own public liability insurance Training staff in first aid

ANS: C. Insisting performers have their own public liability insurance FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 20. The hazard analysis and critical control points (HACCP) is a risk management methodology developed in: a. b. c. d.

The Event industry The Food industry The Engineering industry The Insurance industry

ANS: B. The Food industry FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process

© John Wiley & Sons Australia, Ltd 2010 6

Chapter 18: Risk management

21. The essence of the hazard analysis and critical control points (HACCP) methodology is: a. b. c. d.

To identify the elements of a process that are essential to its effective delivery, and making sure they are monitored and managed To identify phases in a process where control and management is essential, and making sure that occurs To identify hazards that may develop if critical systems of control fail To identify the phases of a process that needs no active control, in order to relocate resources to the phases where hazards originate

ANS: A. To identify the elements of a process that are essential to its effective delivery and making sure they are monitored and managed FEEDBACK: Difficult.

REFER TO SECTION: Risk Management Process 22. Crowd management refers to: a. b. c. d.

The effective facilitation, employment and movement of crowds Directing large teams, especially volunteers The mechanisms used to manage a crowd once its behaviour becomes problematic A management system where staff report to a management team rather than a single manager

ANS: A. The effective facilitation, employment and movement of crowds FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 23. Crowd control refers to: a. b. c. d.

The effective facilitation, employment and movement of crowds Directing large teams, especially volunteers The mechanisms used to manage a crowd once its behaviour becomes problematic A management system where staff report to a management team rather than a single manager

ANS: C. The mechanisms used to manage a crowd once its behaviour becomes problematic FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process 24. The Responsible Service of Alcohol (RSA) provisions apply to: a. b. c. d.

Any event of 50 people or more, where alcohol is served Any gathering where alcohol is sold Any gathering where alcohol is sold, and there is no food being served Any event where alcohol is served

ANS: D. Any event where alcohol is served FEEDBACK: Moderate.

REFER TO SECTION: Risk Management Process

© John Wiley & Sons Australia, Ltd 2010 7

Testbank to accompany Festival and Special Event Management by Allen et al.

25. The regulations and legislation concerning occupational health and safety (OH&S) are the responsibility of: a. b. c. d.

Local councils State and territory authorities The Federal government The event organiser

ANS: B. State and territory authorities FEEDBACK: Moderate.

REFER TO SECTION: Occupational Health and Safety and Events 26. Occupational health and safety (OH&S) regulations: a. b. c. d.

Are being tailored to suit the specific needs of each state Are being divested from federal control to give the states more autonomy Are being harmonised across the country All of the above

ANS: C. Are being harmonised across the country FEEDBACK: Moderate.

REFER TO SECTION: Occupational Health and Safety and Events 27. In the context of occupational health and safety (OH&S) regulations, consultation involves: a. b. c. d.

The sharing of information between employers and employees Giving employees a reasonable opportunity to express their views Taking employee views into account in decision making All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Occupational Health and Safety and Events 28. In order to manage risk, event health and safety, the event team must consult with: a. b. c. d.

The event's suppliers The event's staff and volunteers The event's sponsors All of the above

ANS: D. All of the above FEEDBACK: Moderate.

REFER TO SECTION: Occupational Health and Safety and Events

© John Wiley & Sons Australia, Ltd 2010 8

Chapter 18: Risk management

29. The key value of an event's OH&S policy, and the risk management procedures that are at the policy's core, is: a. b. c. d.

In complying with the letter of the law In indemnifying the event against liability In providing the event with an organisational structure In providing the event team with a safety framework

ANS: D. In providing the event team with a safety framework FEEDBACK: Moderate.

REFER TO SECTION: Occupational Health and Safety and Events 30. An incident report is: a. b. c. d.

A summary of incidents affecting the event's reputation A formal record of any incidents that had an impact on health or safety A report prepared in response to a particular incident that occurred during the event, for the purposes of insurance A policy document outlining responses to any incidents affecting participant's health of safety

ANS: B. A formal record of any incidents that had an impact on health or safety FEEDBACK: Difficult.

REFER TO SECTION: Risk Management Process

© John Wiley & Sons Australia, Ltd 2010 9

Testbank to accompany Festival and Special Event Management by Allen et al.

SHORT ANSWER/ESSAY QUESTIONS 31. Is risk always harmful? Explain.

Risk is not necessarily harmful. One reason, among many, that an event company wins the job of organising an event is that competing companies perceive the event to be too risky. The successful company can manage all the risks with its current resources. Risk is the basis of the entrepreneur’s business. Without risk, there can be no competitive advantage. Without the appearance of risk, there can be no tightrope walking or extreme games. Part of what makes an event special is the uncertainty — it has not been done before.

REFER TO SECTION: Risk Management Process

32. What techniques exist for identifying risk in the context of events? Briefly describe.

There are a number of techniques that can be used to identify risk. These include: Work breakdown structure Breaking down into manageable parts the work necessary to create an event can greatly assist in the identification of risks. It provides a visual scheme as well as the categorisation of the event into units associated with specific skills and resources.

Test events Large sporting events often run smaller events to test the facilities, equipment and other resources. A test is effectively a self-funded rehearsal.

Classifying risk and SWOT The SWOT analysis can be used as a risk identification technique. The strengths and weaknesses correspond to internal risks and the opportunities and threats correspond to external risks Fault diagram Risks can also be discovered by looking at their impact and working backwards to the possible cause. This is called a result-to-cause method.

Incident report Almost all large public events have an incident report document. The incident data can then be used by agencies to give an event risk profile. The ambulance service has such data on medical incidents for events, for example.

Contingency plan An outcome of the risk analysis may be a detailed plan of viable alternative integrated actions. The contingency plan contains the response to the impact of a risk and involves a decision procedure, chain of command and a set of related actions.

Scenario development and tabletop exercises The use of a ‘what if’ session can uncover many risks. A scenario of problems is given to the event team and interested stakeholders. They work through the problems and present their responses.

These responses are collated and discussed.

Consultation Part of each state’s occupational health and safety code is the concept of consultation. The event management team is required to consult with the various suppliers on their safety plans for the event.

The event and venue team The importance of staff and volunteers to identifying risks cannot be underestimated.

REFER TO SECTION: Risk Management Process © John Wiley & Sons Australia, Ltd 2010 10

Chapter 18: Risk management

33. How can a SWOT analysis be used to identify and classify risk?

Risk can be classified according to the origin. Internal risks arise in the event planning and implementation stage. They may also result from the inexperience of the event company. These risks are generally within the abilities of the event company to manage. External risks arise from outside the event organisation and may need a different control strategy. This technique focuses on mitigating the impact of the risk — dealing with the consequences. The impact of a star soccer player cancelling, for example, may be minimised by allowing free entry to the event. For this reason, the SWOT analysis is a risk identification technique. The strengths and weaknesses correspond to internal risks and the opportunities and threats correspond to external risks REFER TO SECTION: Risk Management Process

34. How can incident reports be used to identify and predict risk?

Almost all large public events have an incident report document. These may be included in the event manual and are to be filled out by the event staff when there is an incident. The incident data can then be used by agencies to give an event risk profile. The ambulance service has such data on medical incidents for events. This data is useful for estimating resources to allocate. By giving the ambulance service key characteristics of an event, such as audience number, alcohol availability, age group and type of event activity, they can predict the type of medical incidents most likely to occur.

REFER TO SECTION: Risk Management Process

35. Why is the accurate identification of risk important?

An essential aspect of risk identification is the process of accurately describing the risks. The risk for an outdoor event is not ‘weather’. A beautiful fine day is still ‘weather’. Heat or rain may be the risk descriptor. However, this is still not accurate enough. Extreme heat or heavy rain before the event is closer to describing the actual risk. The process of describing the risk accurately also enables the event team to think the risk through.

REFER TO SECTION: Risk Management Process

36. What are the 'dimensions of risk'? How do they provide an event team with a tool to rate risk?

Once risks are accurately described, they can be rated according to: • the likelihood of the incident occurring. Emergency Management Australia recommends that the risk is rated on a five-point scale from rare to almost certain. Rare means that the incident will occur only in exceptional circumstances; for example, an earthquake in Sydney. The other ratings are unlikely, possible, likely and almost certain. Rain at an event in Indonesia during the monsoon period would be rated as ‘almost certain’.

• the consequence if the incident does occur. The five-point rating scale for consequences are insignificant, minor, moderate, major and catastrophic. Insignificant, according to SAI Global, means that the incident would be dealt with by routine operations; for example, no © John Wiley & Sons Australia, Ltd 2010 11

Testbank to accompany Festival and Special Event Management by Allen et al. injuries, no financial loss. Catastrophic means that the consequence would threaten the event and the event organisations; for example, death, huge financial loss (SAI Global 2006).

These are often called the dimensions of risk and provide the event team with a tool to rate the risks. A risk that is assessed as catastrophic and almost certain to happen will need immediate action. The Australia Standard describes this risk as ‘extreme’. A risk that is unlikely and insignificant will not be afforded the same attention as risks of a higher rating.

Other risk management models include the perception of the risk and its frequency as part of the risk assessment in the dimensions of risk.

REFER TO SECTION: Risk Management Process

37. What is the transfer of risk? In what way is a risk management process a transfer of risk?

The transfer of risk involves getting another party to accept responsibility for a negative event occurring. Insurance is an example. Risk can also be transferred to other groups responsible for an event’s components. Subcontractors may be required to share the liability of an event. Their contracts generally contain a clause to the effect that they are responsible for the safety of their equipment and the actions of their staff during the event.

The risk management process can be defined as transferring the risks to a part of the event management that has the resources (including skills, experience and knowledge) to handle it. This is an important point because the risk is rarely, if ever, completely eliminated, except by cancelling the event.

REFER TO SECTION: Risk Management Process

38. What is a risk register? What is the advantage of a live risk register?

The risk register is a document that identifies, assesses, and details action items relating to particular risks. A live risk register is a plan that is constantly updated and revised. As new risks are identified they are added to the register. The register has a number of functions: 1. It is a live management tool.

2. It can be used to track risks so they are not forgotten.

3. It is proof of actions for a work-in-progress report.

4. It can be used after the event to help prove competent management.

5. It can be used for the next event to assist risk identification and planning.

6. It can have various levels of access to allow staff and senior management a role in risk management.

7. It can communicate the main issues, simply and clearly.

A live risk register can be put on the intranet or internet and is therefore accessible to all members of the event team. It can be printed at any time and placed in a report to the various stakeholders.

The risk register therefore provides a snapshot for the event management process.

REFER TO SECTION: Risk Management Process

© John Wiley & Sons Australia, Ltd 2010 12

Chapter 18: Risk management

39. What principles can be employed in successful crowd management? Why is it important?

Key advice for successful crowd management includes: • Thorough planning and preparation, using a wide range of “what if...?” scenarios, including unexpected scenarios.

• Adoption of a system-wide approach.

• Coordination between all agencies involved.

• Utilisation of personnel who have plentiful first-hand knowledge, skills and experience in planning for and managing crowd events.

• Communication with the whole crowd – both audio and visual – particularly in emergency situations.

• Leadership and guidance to initiate crowd movement in emergencies.

• Acknowledgement that seemingly small problems occurring in combination can have a significant impact on event success.

The behaviour of the people who attend the event is vital to its success and the source of its greatest risk. Incidents in the crowds can have catastrophic outcomes resulting in shutdown the event and can put the event company and the client under threat of criminal negligence charges.

REFER TO SECTION: Risk Management Process

40. How can an event work with its participants to minimise risk?

Many of the problems at events can be minimised by preparing the people who come to the event.

Part of an event will be the ‘wow’ or surprise and there is a tendency by the organisers to keep the event a mystery. However a responsible event team should be aware that many aspects of the event can be communicated to the audience long before they arrive. The UK website set up by the National Health Service (NHS 2008) in the UK is an excellent example. The pages on its Festival Safety Guide provides tips on safety issues for a person who will attends a festivals including what to pack, first aid, food safety and sun protection. The pages are written in as style that their intended audience understands and it includes video of attendees talking about what they bring to minimise problems as well as interviews with the safety staff.

REFER TO SECTION: Risk Management Process

© John Wiley & Sons Australia, Ltd 2010 13