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Transcript of Guidebook last version
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This Guidebook is based on the best practices
learnt by all the partners through the arrangement of
festivals at local level and through the exchange of
practical results and the sharing of experiences, done
during the transnational meetings.
Thanks to face-to-face discussions and the
exchange of experiences, good practices, skills and
knowledge, the transnational meetings enabled the
partners to identify and to set up those basic standards
that form the Guidebook backbone.
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Definition of festival in English
Festival:
Pronunciation: /ˈfɛstɪv(ə)l/
noun
1. a day or period of celebration, typically for
religious reasons: traditional Jewish festivals
2. an organized series of concerts, plays, or
films, typically one held annually in the same
place:a major international festival of song
Origin:
Middle English (as an adjective): via Old French
from medieval Latin festivalis, from Latin festivus, from
festum, (plural) festa 'feast'
Taken from:
http://oxforddictionaries.com/definition/english/festival
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Contents:
Introduction....…………………………………….
5
Chapter 1 - Concept and programming of a
Festival..…................................................................
7
Chapter 2 - Management of a
Festival…………………………………………………..
13
Chapter 3 - Arrangement for
arrivals……………………………………………..
18
Chapter 4 - Contact with Participants and
Confirmation……………………………………….
29
Chapter 5 - Preparing / Finding / Managing the
budget and sponsorship…………………………….
35
Chapter 6 - Promotion and Dissemination
Activities of a Festival……………………………..
41
Glossary……………………………………………
47
Info about partners……………………………….
50
The summary of the project - Festival
Entrepreneurship for VET………………………….
62
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Introduction
When asked to define a festival, we could say
quite simply, that it is an organised celebration that may
include one or more activities such as music, food, film,
theatre and dance. Festivals can vary in duration and size
from a few hours to several days and are generally staged
by community organisations, private enterprise or a
combination of both.
One of the main intentions of this handbook is to
provide guidance to both inexperienced and experienced
festival organisers to help avoid or overcome some of the
common problems that may arise when organising a
festival. This handbook will provide practical advice and
guidance and will identify the essential partnerships and
steps related to planning and implementing a successful
event.
The main themes covered in the handbook are:
concept and programming of a festival;
management of a festival;
regulations for arrivals, accommodation, catering
and entertainment;
contact with participants and confirmation,
technical arrangements and precautions;
sponsorship and preparing/managing the festival
budget,
promotion, publicity and dissemination activities
of a festival.
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Planning and hosting festivals can often be
challenging but can also be very satisfying and rewarding
for both the organisers and the audience. This step-by-
step guide will hopefully provide enough help to take the
fear of the unknown out of the process of organising a
festival, but still leave room for you to be creative and
innovative in any future festivals you intend to do.
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CHAPTER 1
Concept and programming of a Festival
When starting to plan a festival, the first step is to
define a structured concept and a concrete involvement
of all performers. What is very important for the festival
and its programming is the definition of a clear concept
that offers a good approach to guarantee a structured and
effective proceeding. The planning of a festival shall be
focused on the main and core conceptual elements
illustrated below:
Figure 1
CONCEPT
Sponsorship
General Purpose
Resources
Constrains
Planned Activities
Local Needs
Time Available
Geography
Target Group
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The planning of an event first of all entails
identifying the elements that will allow us manage it
properly later on. A number of essential steps, such as
preparing a detailed action plan and a precise time
schedule, are required to plan an event; these will also be
used to monitor the progress made and, if necessary, to
modify strategies and objectives.
General Purpose
For planning a festival it’s necessary to consider the
following influences:
• a celebration
• making profit for organisations, for charity etc.
• promotion of organisations, hosting events,
cultural awareness, education, political aspects,
equality and diversity, religious aspects;
• providing entertainment;
• attract tourists;
• formal, informal and non-formal learning process,
8 key competences ;
• Environmental issues.
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Target group
To optimise the arrangement of a festival it is
crucial to consider who you are aiming at: students,
family, age group, etc.
Sponsorship
When starting to looking for a sponsorship it’s
necessary to:
- inform the potential sponsors about concept of the
festival.
- take into consideration the needs and interests of
the potential sponsors.
Geography (Location)
It’s necessary to consider where the event will be
held, the physical constraints such as space available,
general sites, weather, transport links. You should make
sure that parking is organised and traffic flow is good. If
this is poorly organised, this can give a very negative
impression of the festival.
Planned Activities
Since the beginning, it’s necessary to clearly plan
which type of activities we are going to offer: music,
dance, workshops, sports, education, practical activities
etc
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Time Available
The organiser shall take into account the duration
of the event, (depending on the available resources) and
how much time is available for the organisation. To
avoid or to limit the mistakes it’s necessary to have
enough time. In general, to organize an event, the
organiser needs more or less five months, at least. Also,
it’s very important to check if there are other possible
events that may coincide with the organised event.
Local Needs
It’s necessary to take into account the context in
which one intends to organise a festival and the related
needs, constrains, obstacles. It’s very important to be
aware of the requirements of the area where the event
will be held. For example: local governments priorities,
cultural identity of the area, socio-economic aspects..
Constraints
Security, finance, local laws and regulation,
logistics.
Resources
The available budget, human resources (paid and/
or unpaid workers), technical resources, equipment,
expertises shall be taken into account.
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To make a good event
First of all, it’s very important to have a good and
fluent communication between the other organisers. All
the staff members and other key players shall be
constantly informed about the progresses of the
organisation by the organiser(s) as responsible(s) of each
step. In this sense performers, staff, local authorities and
other key players are essential.
It is also particularly important to supply
involvement of volunteers who need to be trained to
cooperate within the event. When doing this from the
beginning, they feel responsible and are motivated for
active contribution.
In the figure below the basic elements to be taken
into account to make a good event are illustrated:
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Figure 2
Moreover, it’s very important to disseminate the
event to reach a lot of people, or the target group.
Finally, soon after finishing a festival, there
should be an evaluation of lessons learnt to notice
mistakes to avoid in the future.
SINGER
Our role: make artists be welcome
Marketing, Posters, Elvers
Sound Tech Lights
Security Guard
Entrance Fee
Owner of the location: -Stage
Master of ceremony
Responsible for the organisation of the
event
INFO:
Communication - to make a goof event we
need to inform, everyone must know
what's happen
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CHAPTER 2
Management of a Festival
Figure 3
MANAGEMENT
Roles and Responsibilities
Stage Management
SecurityStaff
Administration
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Management
Health and safety
Health and safety needs to be a clear priority, as it
is not only a legal requirement but also taking a
proactive approach to avoid potentially very serious
consequences. The event organising committee needs to
examine the risks involved with the event by asking for
example, “What could happen?” or “What if?” The
answers will determine whether police, private,
uniformed security or peer security is required.As a
festival organizer you have responsibility for the health
and safety of staff and volunteers as well as for the
general public who attend the festival events. This will
ensure the continuation of the festival and protection of
the environment.
You should also make sure that you have the
relevant insurances in place – not only Public Liability
(in case of the guests gets injured) but also employers
liability insurance (even if the only people working there
are volunteers) as well as insurance in case any of the
technical equipment gets lost, stolen or damaged.
Stageplot
Drawing of the stage sent by the artist, technical
info/organization of items on the stage, space needed for
the performance and technical equipment should be taken
into consideration.
Administration
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Artist rider
The artist rider details specifications on stage
design, sound systems, lighting as well as an artist’s wish
list from travel and billing to dressing room.
Technical equipment
Make sure that you keep in communication with
all of the contractors and content providers (speakers,
venue managers, bands etc). You also should make sure
that all of the equipment you are using has been checked
properly.
Artist liaison
The artist liaison has the role of ensuring the
festival to run smoothly and that artists enjoy a well
organised, stress free festival. He/she is the one between
the organiser and the artist providing
coordination/cooperation.
Contract between the participants and the organiser
During the build of the event it is critical to make
sure that all of the technical contractors are working on
their own, and accomplishing the signed contract, and
your own risk assessment guidelines, as you have a
responsibility for their working practises.
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First contact with the artists/participants
It is a short description about the festival and the
organisers. You may have invitation letters/calls if
necessary.
Map/guidebook/brochure about the festival area
It is very important to inform all the participants
about everything what is going to happen in the festival,
where and how to get there. A map of the event is
essential for event planning and management. The site
plan can be distributed for setting up the event and is also
invaluable in an emergency.
Distribution of tasks
You should make sure that everyone knows
clearly what they have to do, otherwise there will be a
confusion.
The schedule of the festival
One of the best ways to promote a festival is to
create a special web page dedicated to the festival. You
can also include information on accommodation, ticket
prices and location.
Application form for the volunteer groups about their
shows/needs
You need to know the competences of each
volunteer, so you need they fill an application where they
describe and let you decide where they can be useful.
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Transportation facilities
You should provide all the information possible
about the way how to reach the festival, prices,
timetables, duration of the trip and all the small but
important details so that the public won´t have any
difficulty to go there.
Stage management
The stage manager is in charge of everything that
may impact the functioning of the stage, the
performances that take place there and the backstage
environment. They are the direct festival liaison between
performers and all concerns performers may have with
the staging of their performance. They organize
performer technical requirements into a coherent system
and they assign the line numbers that will be used on
stage.
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CHAPTER 3
Arrangement for arrivals
Arrivals by public transportation, airline or similar
If guests arrive with public transportation, airline
or similar, there might be a need to arrange a pick-up to
take them the last way to the festival area. Have a driver
or guest assistant hold a sign with festival logo and/or the
name of the guest to assure the two parties find each
other on the pick-up location. Communicate with guests
prior to their departure for the festival so that they know
what to look for.
Make sure the driver is knowledgeable of the
route between pick-up location and the festival area and
preferably knows of alternative routes in case of traffic
jams. Drivers must also be well rested for each pick-up or
drop-off, especially if it is a long drive.
A pick-up coordinator should monitor information
on traffic jams, changes in the schedules of connecting
transport and communicate this information to the
drivers. Extreme delays can cause disruption to the entire
pick-up schedule and the coordinator is then tasked with
reorganizing the schedule so that the festival schedule
and guests are not affected.
20
Arrivals by private transport
Some guests will arrive with their own transport.
Make sure they know the way, for example send them a
map with directions before they depart for the festival
and provide them with contact information in case they
need further assistance or encounter problems on the
way. Coordinate some sort of greeting upon their arrival,
someone to help them to their accommodation and
introduce them to the festival area.
Arrival at the festival area
First thing when guests arrive is to set up their
accommodation. If they have travelled far, make sure you
are able to offer something to eat. Provide the guests with
a map covering the festival area in relation to their
accommodation and where to find necessities such as
canteen or lounge, facilities, pharmacy (or alternative
basic medicine supply on location), internet (if
applicable) and relevant members of staff.
Festival audience
The festival audience has to be let in under
controlled circumstances with no running or behavior
that can initiate chaos or panic. The audience should be
made aware of where to find security and exits. Also
provide the audience with maps over the festival area that
clearly shows where to find camping area or other
available accommodation, facilities, catering and other
services available to them.
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Participating guests
The arrival of participating guests of the festival
is an important chance at making good and lasting first
impressions. Commonly guests will arrive on different
days and times, by different means of transportation and
with varying needs that need to be seen to during the
process of their arrival. A guest manager and pick-up
coordinator can work together to assure nothing is
forgotten.
Arrangement for accommodation
Festival audience
For festival audience camping at the festival area,
it's important to have the camping area clearly marked
out and necessary facilities easily accessible on the
festival grounds.
Participating guests
The accommodation of participating guests is
preferably within walking distance of the festival area.
Depending on the nature of the festival, participating
guests might need accommodation separated and
secluded from the festival audience.
22
Hotels and hostels
If participating guests and members of staff are
staying at hotels and hostels it is important to get several
confirmations on all the bookings prior to arrival. Due to
changing staff at the hotels and hostels, a booking might
be missed or not properly make it into the booking
system. Make one confirmation on all bookings before
the festival starts and a second confirmation a day before
the arrival of each guest or member of staff.
Assist each participating guest upon check-in and
keep a record of who stays in which room for faster and
easier communication with the guests during the festival.
Provide the hotel or hostel reception with contact
information to the guest manager and other relevant
members of the festival staff in case of emergency or if
the guests have questions that the hotel or hostel staff are
unable to answer.
Other accommodation
If the festival area is outside of regular
infrastructure with no hotel or hostel within walking
distance of the festival area, you might need to set up
housing trailers, tents, camping wagons or similar to
accommodate the participating guests. Make sure all
guests have access to facilities with running water and
electricity. Also take care to make arrangements for their
safety, privacy and the safety of their belongings.
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Catering
Most commonly a local catering company is
contracted for the duration of the festival. It is important
to keep good communication with the catering company
both prior to and during the festival.
Health and safety regulations regarding catering
vary between different countries and you need to look up
what the laws and regulations are for the country and
region of the festival. If applicable, do not forget to take
notice of regulations regarding the serving of alcohol in
connection to catering.
Health and safety regulations should cover what
responsibilities the owner of the catering company has
towards the customers. Take note of what hours the
catering company can serve and what time the kitchen
opens and closes.
As in any other instance, have responsibilities
clearly distributed amongst members of staff. For
example, who is responsible and will manage the
situation of the kitchen suffers a power outage? If the
kitchen suddenly has no running water, who will be
responsible for regaining running water and when the
kitchen then must be closed down, who deals with guests
and festival audience that still need to eat?
24
Meal tickets
To assure only members of staff and guests
intended to be served by the festival's catering are served
off charge, it can be helpful to implement a meal ticket
system.
Distribute meal tickets to members of staff and
guests on a daily basis, one ticket per offered meal. As
meal tickets are easily lost, do not hand out more than a
day's worth of meal tickets to a person at a time.
Special dietary needs
Ask members of staff and participating guests
about allergies and special diets such as vegetarian,
vegan, lactose or gluten-free meals before the start of the
festival and inform the catering company of how many of
each special dietary need will be dining every day.
Double check with everyone and count on that some have
failed to inform of their special dietary needs. Make
arrangements for the most common special diets are
provided for by the catering company.
Check if any members of staff or participating
guests are pregnant or diabetic and thus need extra
attention paid to their eating schedule. Make extra effort
to provide regular opportunities to eat for those
individuals.
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Some guests or members of staff will have
especially tight schedules that occasionally won't allow
them to visit the lounge or canteen area during its serving
hours. Make sure these staff members and guests are
aware of their tight schedule and have a runner fetch
them meals if desired.
Regulations for entertainment
When planning a festival, it's important for festival
audience, crew and the entertainment that things go as
smoothly as possible. To assure this it is important that
everyone knows their task.
The text that follows explains standard crew, tasks
and regulations for members of staff working on-stage at
a festival.
Backline-technician: Responsible for all guitar-
and bass-amplifiers and drum-set on stage. He/she
is also available during the performance on stage,
if any drums, amplifiers or instruments should
break or fall.
Light-technician: Responsible for the light-
effects on stage.
Sound-technician: Responsible for the sound
coming from the stage.
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Microphone-man: Helps the sound-technician to
place the microphones and cables where they
should be. He/she is also available during the
performance on stage, if any microphone or cable
should break so it can be replaced of fixed as fast
as possible.
Monitor-technician: Responsible for the sound
on stage. The sound that is directed towards the
musicians.
Stage-commander: Responsible for the work on
stage. This person is responsible for the people
working on the stage (especially the stagehands),
the artist (when they are performing) and the
overall security on stage. This person must be on
stage at all times during the performance.
Stagehand: Working on the stage, helping the
stage-commander, backline-technician or
microphone-man with various work on stage.
This person does not necessarily need to be
experienced in this kind of work. The most
important thing is that it is a person you can trust,
and can take orders.
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All of these people need to be well prepared,
preferably by reading the bands itineraries, stage plots
and riders in good time before the gig. The backline-
technician and stage-commander need to properly
coordinate their work to be able to handle the stagehands
and hand out their tasks. Sometimes there can be only 15
minutes between bands performing on the same stage so
things need to be set up fast.
Entertainment outside of festival area for
participating guests
Some of the participating guests might want to
use free time to do sightseeing or enjoy other forms of
entertainment in the area, but outside of the festival. To
assure the safety of these guests and make sure that they
return in time to the next appointment on their schedule it
can be profitable to have a driver and guest assistant
arrange a sight-seeing tour for these guests. This could
also further improve the guests' opinion of the standard
of the festival. If guests desire to venture away from the
festival area on their own, make sure that the guest
manager has means of getting in contact with them and
they have the contact information of the guest manager.
Try to keep track of where they are located at all times in
case of emergencies or appointments appearing with
short notice, such as interviews with media etc.
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Safety and ICE-document
Special needs
Some of the guests might have special needs, such
as a handicap or a need for an interpreter etc. The guest
manager should be aware of all these needs before the
start of the festival so that it is possible to make proper
preparations to accommodate these needs. All members
of staff in any way affected by these special needs should
be informed and made aware of how this affects their
work.
ICE-document The guest manager should prepare a
document with useful information in case of various
emergencies - an ICE (In Case of Emergency) -
document. The guest manager and guest assistants should
carry this document with them at all times. The ICE-
document should cover the following.
Health care accessible to the festival area, such as
pharmacies, clinics, emergency ward, defibrillator, dental
care. Include address, open hours, telephone numbers. If
available in the region, include a health care advice
number, available 24-7.
Police. Emergency phone number and address, open
hours and telephone numbers to the nearest police
station. Include information on procedures to report loss
of passport or other important identification.
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Embassies, if the festival has international guests and/or
members of staff. Include address, open hours, phone
numbers and procedures to replace a lost passport.
Airline companies, if guests or members of staff have
arrived by airplane. Include customer service number,
open hours and procedures to report lost luggage.
Credit card companies, such as Mastercard, Visa,
American Express and Diners Club. Include contact
information and procedures to report lost or stolen credit
card.
Contact information of available drivers, only to be
contacted directly in case of emergency. All other
transport should be arranged through the drivers'
coordinator.
30
CHAPTER 4
Contact with Participants and Confirmation
Contact through e-mail
Communication through e-mail has great benefits
when settling and deciding details as there are many
things around the participants that will affect several
people amongst the festival staff. When e-mailing
participants, add the participants' e-mail addresses in the
main address field and add address to all affected staff in
the Carbon Copy (Cc) field. When replying e-mails,
unless a participant has asked a personal question that
needs to be treated differently, always “reply all” so that
all exchanges are shared with all affected parties. If any
participant or members of staff need their address to
remain hidden, use the Blind Carbon Copy (Bcc) field.
This way only the sender and the hidden recipient will
know of the address.
While it is good that all affected staff gets
important information, do try to limit the amount of staff
included in Cc. For example, if the festival has a guest
manager that has main responsibility over transport,
accommodation and food for the participants, then there
is no need to include the catering chef, hotel staff and
transport coordinator in the Cc field. The guest manager
will take responsibility to forward only the information
relevant to respective party. Festival managers however
should always be included in Cc so they can get a full
and complete view of all proceedings of the festival's
preproduction.
31
Telephone contact and videoconferences
Contact over phone is a nice way to make a more
personal impression prior to the festival, if there is a need
for that, but important details are always good to have in
writing. If you keep contact over phone or video
conference, have pen and paper (or other means to take
notes) at the ready in case important questions come up
or any decisions are made. It is easy to forget a detail that
in the end turns out to be very important.
Contact during preproduction
Contact with participants during the
preproduction of the festival will most likely be
conducted through e-mail or possibly also partially over
phone or similar means.
Contracts
Contracts serve many purposes and have a very
important role in assuring that both parties - festival
managers and participants - are on the same page of what
has been agreed on. The more in tune you are in writing
your contract, the lesser the risk of conflict will be during
the festival. Conflicts can be anything from general
displeasure with arrangements to misunderstandings
about for example transport. Don't be afraid to be
detailed in the contract and if you are unfamiliar with
writing contracts it is advisable that you ask for a second
opinion from someone with knowledge and experience.
32
Contact during the festival
During the festival most contact will most likely
be done in person, but in case participants use free time
out of the festival area, it is advisable to have a way of
contacting them at all times. If they do not possess a
mobile phone with service at the location, for example
due to being out of their own country, it is advisable to
provide them with a prepaid Simcard or similar solution
so that you can be in contact at any time. Participants
might forget appointments, there might be interviews
with press scheduled at the last minute or the participants
might want to get in contact with the festival staff
without having to chase them down. SMS or txt-services
can be used to send participants reminders of upcoming
appointments in their schedules, for example interviews
with press, time and place of pick-up from hotel and
similar. It is however preferable to also provide
participants with printed daily schedules on the day
before as they retreat to their accommodation.
Technical Arrangements and Precautions
First of all, welcome the artist to your festival.
Tell the artist about the festival, how many visitors are
totally expected at the festival and how many visitors you
can permit in front of the stage. Also brief the artist on
any special theme or visions you might have as managers
of the festivals as it could potentially be of interest to the
artists and their performance. Keep it brief.
33
Schedule
Make a schedule for the artist, including arrival
time, load in, sound-check, performance times, catering
times and availability, and closing time. It should be easy
to follow the schedule and helps you a lot to work against
time delay. Don't forget to write the address to the venue!
As papers easily get lost, hand out schedules on a daily
basis. This also permits you to make changes to the
schedule during the festival, regarding off-stage
activities, without upsetting the artists.
Technical rider from the organizer
Make a list of all equipment and services you know
you are able to provide the artists with. Here’s an
example:
Drum set: Pearl VB825/C, base drum, floor
tom, 2 hanging toms, hi-hat stand, 3 cymbal
stand.
4 vocal microphones, SM58 + 4 stands
Sound engineer
Etc. etc..
Do not include equipment or services on the list that
you have not properly confirmed will be at your disposal
for the entire duration of the festival, is already set to be
used by other artists or if there is a risk that equipment
won’t arrive to the festival in time. You do not want to
make promises you can't keep.
34
Technical rider from the artist
Request a complete list from participants,
covering all the equipment they will bring and use at the
festival. It is important to know this so you as an
organizer have time to prepare sound engineers for what
they will work with. If certain equipment is unusually
bulky, this might also demand special preparations with
transport and stage setup. Request that the artists send
this list to you at least two weeks prior to the festival and
to not hesitate to send them friendly, but insistent
reminders if the list has not arrived once you reach the
two weeks mark.
35
Stage plot
A stage plot is a simple sketch that the artist
makes to show you as an organizer their stage set up. It
should also include wishes for numbers of monitors and
how many vocal microphone the artist need. If anything
is unclear, don’t hesitate to ask for clarifications and do
so in good time.
Precautions
Always follow the safety regulations in your
country. Take note that safety regulations are different in
every country and may at times be altered or updated.
Even if you feel confident you know the local safety
regulations, it never hurts to double check.
36
CHAPTER 5
Preparing / Finding / Managing the budget
and Sponsorship
BUDGET
Finding
Who + Where
Preparing
and
Spending
Reduce & be Smart
Managing
How to…
√
37
38
SPONSORSHIP
SPONSORSHIP
Who ?
How ?What ?
39
WHO ?
IDENTIFY SUITABLE SPONSORS
WHO
Non - Profit Organizations
Individuals
NGO's
Media
Public Organizations
(e.g Bank energy)
Regional Goverment
Local Goverment
Private Business
40
HOW ?
HOW DO WE RECRUIT SPONSORS ?
HOW
Contract / Agreement
Information Session
(Potential Sponsors)
Information Pack +
Example of Publicity
Clear Idea of Event (e.g. Concept,
values, when, time,
audience etc.)
Professional Presentation
(Spokes Person,
Sponsorship Team)
Promote + VE Image Being
part of a team
Evidence of previous
events (Establish
credentials)
41
WHAT ?
TYPE OF SPONSORSHIP
WHAT
Utilities (e.g. electricity) Technical
Support (Expertise + Guidence)
Publicity + Marketing
Venue/Space
Awards/
PrizesHealth & Safety (e.g. First Aid)
Labour
Transport
Economy
Material + Equipment
42
CHAPTER 6
Marketing, Promotion and Dissemination
Activities of a Festival
Marketing, promotion and dissemination of
activities for a festival, requires careful thought and
planning. It is advisable to have a nominated person or
small team of people (with the right expertise), within the
larger festival management team to be responsible and
oversee this aspect of the festival. Before commencing, it
is important that an operational plan and budget is agreed
at the beginning of this process to help prevent excessive
spending. This is one aspect of the festival that can easily
go over budget if it is not planned and managed well.
Marketing and promotion of the festival should
start as early as possible so that materials and ideas can
be thoroughly checked, resourced and standardised. It is
also helpful that the target audience has the information
about the festival in good time too, to help organise their
own situation and to further spread the word amongst
family and friends. It is important to also involve key
partners at this stage e.g. sponsors, to ensure that the
promotional strategy and materials are mutually
acceptable to everybody involved.
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Promotion and dissemination of the festival
activities
Choosing the appropriate title/concept for your
festival
One of the most challenging aspects for any
festival is choosing the right title. The title is the festival
brand and should effectively convey the idea and concept
of the festival. Ideally it should be short and simple,
memorable and easily recognisable. Attention also needs
to be paid to the type of lettering, imagery and colour
scheme used for presentation, so that it is eye catching
and attractive. Once this is agreed, the branding needs to
be standardised on all promotional activities.
Preparing publicity materials
Good publicity and marketing is one of the major
cornerstones to any festival and most often events can
succeed or fail on the strength of how well it is
publicised. Organisers need to invest as much time,
energy and resources available to create the best quality
publicity materials to appeal to their target audience.
Publicity material can range from printed posters,
leaflets, brochures and flyers to e-posters on the internet
and social media sites. For large festivals, audio and
visual material may be needed if you decide to
commission commercials on radio and TV.
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What to include for publicity materials
The brand name (standardised), the location, the
start/finish time, who is appearing, and contact
information for the event (e.g. a web address, e-mail
address/a telephone number/ a postal address), names of
sponsors (if relevant), the cost and any concessions and
how to purchase tickets (if the festival is not free).
For printed and electronic materials, type and
images should be of the best quality possible. Standards
should be set such as the quality of the image resolution,
type of font, font size etc. The lettering and explanation
of the festival should be concise, clear and eye catching.
You should avoid long sentences on posters, leaflets and
websites and try to keep to simple vocabulary. For e-
materials, you may wish to add hyperlinks to other sites.
To give a good impression, it is important that the links
are kept active and any ‘dead links’ are removed as soon
as possible.
All materials should be proof read thoroughly. If
you are using images that are not your own, it may be
necessary to ensure that you are not breaking any
copyright law. Therefore, you will need to seek
permission to use images other than your own.
It is sometimes useful to include a site map on
your materials for people unfamiliar with the area. If the
intention is to publicise the festival internationally, the
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publicity materials may have to be accurately translated
into other languages depending on your target audience.
Dissemination - reaching your audience!
Starting this process early and continually
keeping up the publicity of the festival in the public
domain, is one of the keys to a well- attended event.
Assembling and effectively managing a publicity team is
another key factor. Publicising a festival can be very
labour intensive and often involves visiting many places
and people during unsociable hours, particularly within
the two week period leading up to the festival.
Here are a few ideas that you could consider.
Draw up a contact list from your existing
contacts both professional and personal.
Contact can be made to the people on your list
using e-mail, telephone, or by post. You could
further ask your contacts if they would be
willing to also communicate basic
promotional information about the planned
festival.
Prepare leaflets/flyers for the promotion of
your festival and put them on notice boards,
shop windows and hand or leave them out in
specific public areas where you may expect to
see a large number of people. It is often good
practice to use flyers intensively the day
before and on the day of the event to help
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remind people of the festival and capture
anyone who is still not aware of the festival.
Depending on your target audience, you may
be able to advertise your festival in local
schools, colleges, universities, public
buildings (town hall) and community centres.
Promote the festival through other events
such as meetings, concerts, other festivals,
public gatherings, etc.
You can prepare a website or use social media
sites, e.g. Facebook page /twitter page for
your festival promotion. It is essential that this
form of publicity is constantly up-dated when
necessary.
Launch event – invite key people to a launch
party or dinner to help publicise the festival.
The people invited could in-turn promote the
festival through their own contacts.
Using local media (or national media if the
festival is large enough). Media can include newsletter
notices, radio advertising, television advertising
(however, this is expensive and requires a substantial
budget), the internet, newspapers and magazines.
Advertising in local newspapers can be very effective but
can also be expensive too. This form of advertising tends
to be more effective nearer the time of the festival.
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GLOSSARY
Access: To make sure everything goes smoothly and
prevent accidents or theft on a festival, all personal and
visitors is given a braclet or cards with different colors or
letters to show the securitypersonel where they can and
can't go on the festival location. For example, a "triple
A-pass" means Access All Areas. If you are given that,
you may go everywhere on the festival. Accreditation:
Accreditation is the process in which journalists and
others from the media should be given access to events
where participants and access is restricted.
Areacommander: The person in command of the
festival area. This person decides where different stages,
backstage, marketplaces, restaurant and other things
should be.
Artistcontract: During a festival, it is not uncommon
that there can be differences between the organizer and
artist on the festival day. To prevent this, it´s best to have
a artist contract, where all the terms between the artist
and festival organizer is written down.
Artist host: The person responsible for the artists off
stage. This person should be able to answer any questions
the artists might have, or at least get them in touch with
the person they should talk to.
Backlinetechnician: This person in responsible for all
guitar, bass-amplifiers and drumset on stage.
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Backstage: Backstage is a area on the festival where the
artist or performers can make them self ready and relax
before a concert or gig.
Crowd control: Crowd control is the controlling of a
crowd, to prevent the outbreak of disorder and prevention
of possible riot using barriers or even force.
Crowd management: Crowd management refers to the
communication to the crowd, using signs or other tools to
make a crowd act the way you want the to on (for
example) a festival.
Decibel: Refers to the volume level of the sound coming
from the PA- system.
Ditch: Refers to the area between the stage and the
crowd.
Dithchpersonel: Refers to the people working in the
ditch. This can be for example people working with
security. Photografers is ofter part of the crew working in
the ditch. Festivalmap: A map over the festival area so
the visitors easily can find their way around the area.
Front of house: The place where the sound and light-
technician is working. Often a place in the middle of the
crowd, in front of the stage.
Lighttechnician: This person is responsible for the light-
effects on stage.
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Monitortechnician: This person is responsible for the
sound on stage. The sound that is directed towards the
musicians.
Raider: Often a part of the artist contract. A raider is a
document that the artist sends to the festival to inform the
people responsible what the artist needs on and off stage
to perform. This can involve everything from the right
drumset on stage, to a special kind of drinks backstage.
The raider also includes a map over how the musicians
want their instruments setup.
Securitycommander: This person is responsible.
Soundtechnichian: This person is responsible for the
sound coming from the stage.
Stagecommander: The person responsible for the work
on stage. This person is responsible for the people
working on the stage, the artist when they are performing
and the overall security on stage. This person must be on
stage at all times.
Stagehand: A person working on the stage, helping the
Stagecommander and backlinetechnician with various
work on stage.
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INFO ABOUT PARTNERS
Darıca İlçe Milli Eğitim Müdürlüğü
Our institution is an umbrella organization. It
leads and controls every education activity in Darica
which is a multi-cultured area. There is one manager,
three assistant managers and twenty five officers who
serve in twenty one units such as Research and
Development, Assignment, Personnel etc. It has twenty
four primary schools, nine high schools, sixteen private
education institutions, a kindergarten and a public
education centre under its authority. Our institution is
located in Darica which attracts attention with its natural
beauty and developing industry. Every year hundreds of
people migrate here to look for work by moving away
from social problems in their hometown. These
immigrants are from different regions of Turkey and they
have diverse cultural and familial values, traditions, life
styles and even languages. The immigrant families that
live according to their cultural rituals have difficulty in
getting accustomed to city life and other cultures so they
are exposed to social exclusion. The mission of our
institution is to support and accelerate social, economical
and cultural development in national unity and solidarity
to; raise active and exclusive citizens to catch
contemporary civilization; to implement the laws and
other legislations towards the aims and objectives of
Turkish National Education System; to improve the
contentment of its employees and institutions by
51
following the innovations in education and by carrying
out the education system effectively. To reach its
mission, our institution pays great attention to every
educational issue and institution as well as organizing
local and international projects/activities which not only
improve and stimulate education but also find solutions
for the social problems of our public and meet their
needs. A unit has been founded within our institution
which organizes activities to cope with socio-cultural
problems of our citizens who are mostly immigrants and
to stimulate educational activities and to improve
entrepreneurial skills of the target group.
Dienst Beroepsopleiding – vzw EPON
DBO is a part of the Flemish Department for
Education and Training in Belgium. Our aim is to
develop innovative approaches and policies for VET in
Flanders. We want to create a maximum of opportunities
for students and course participants of vocational
training. DBO is a member of the Flemish
interdepartmental Work Group for the Entrepreneurial
Education Action Plan to promote entrepreneurship
education in schools on all levels. Through various (EU)
projects DBO wants to promote entrepreneurship among
young people in schools. DBO organizes a business plan
competition in upper secondary education and a school
competition with the trophy ‘schoolteam with the best
entrepreneurial competences’. DBO supports teachers
involved in entrepreneurial education by offering them
52
teaching and course material, ICT-tools, e-learning and e-
communication platforms, … DBO contributes in the
professional development of school teachers on
entrepreneurship by organizing practical exchanges in
enterprises, workshops, guest lectures and discussion
groups.
Every year DBO hosts two study visits to
Flanders on entrepreneurship education within the
framework of CEDEFOP.
Institut für Projektbegleitung und
Kompetenzentwicklung -pro-
kompetenz- e.V.
Pro-kompetenz, founded in 2003, registered
association, recognized as “Friendly Society”
Objectives: Design education for promoting,
developing and using human potentials in a more holistic
and sustainable way. Support education providing input
from many years of practise and applied research.
Specific areas of expertise:
Develop innovative pedagogical concepts and
learning environments
Implement innovative learning settings,
pedagogical-didactical approaches for learning
with digital media
53
Formative evaluation, provide input to project
implementation and product development,
Quality Assurance
Thematic areas: AE and VET, innovation and
knowledge management, HRM, learning for
social integration
Pro-kompetenz staff has coordinated or been
involved in more than 40 EU projects. Therefore, the
involved staff is experienced in project implementation
and financial management of projects. Financial
monitoring is guaranteed by continuous external
monitoring from an external, independent accountancy
and tax office.
In national projects, promoted by the German
Federal Ministry of Research and Education, pro-
kompetenz has provided guidance and input in order to
develop and to test new learning approaches.
From projects related to social issues and
activities, related to activities in social centres - City
Community Centres, and social organisations as well as
city administration, we have links to widespread the
information and to involve learners besides our own staff
in the project.
54
Centro Machiavelli Scuola di
Lingua e Cultura Italiana
Centro Machiavelli is an Italian Language School
and VET Agency in Florence, founded in 1978, member
of TANDEM NETWORK, an International Association
of Language Schools Network since 1988, officially
recognised from the Ministry of Education since 2003,
certified by ISO9001:2000 certification of quality since
2005, recognised as a consultancy and training
organisation for Lifelong Learning accredited by the
Tuscany Region since 2008.
Centro Machiavelli operates also within EU
programmes and in training activities such as mobility,
study visits, multilateral projects within the EU LLP
Programme (Comenius, L. Da Vinci, Grundtvig,
Transversal Programme, etc.) with partners from
Germany, France, Netherlands, United Kingdom, Ireland,
Romania.
From Oct. 2009 to March 2011 Centro
Machiavelli has been Coordinator of the COMENIUS
Multilateral project "ELLVIS - English Language
Learning programme for Visually Impaired Students".
The results of ELLVIS project are a viable alternative
solution to the "book and tape" methodology. This
multimedia language course is aimed at those who are
unable to use these technical aids, who need further
assistance and prompting through a system that supplies
55
other than audio-based feedback, namely by the 'force-
feedback' reaction that the joystick offers. Starting from
Dec. 2009 Centro Machiavelli is also partner of the
project VET4VIP, Vocational English Teaching for
Visually Impaired People - LLP TRANSVERSAL
PROGRAMME KA2 Languages, which will finish at the
end of May 2012. The Vet4Vip project implementing a
set of tools for language teachers on how to integrate
blind and visually impaired learners into their language
classes. The project wants to encounter this problem with
a combined package of:
1. Train the trainers course for language teachers on how
to deal with vip and how to use and create teaching
materials for this target group. The tools are tested by:
Test seminars on national level
Test seminars evaluation
2.Adaptable computer-based training modules for
English designed for blind and visually impaired adult
learners.
To achieve these goals, the partnership consists of
adult training institutions, language schools and schools
for the blind from Germany, Italy, Ireland, Netherlands,
United Kingdom.
56
Arte-Via Cooperativa Artística e
Editorial, CRL
Arte-Via Cooperative, in Lousã, district of
Coimbra (Portugal) is a regional, cultural non profit
association, whose members work as volunteers, founded
in 1999, that has a senior university promoting classes for
elder people and migrants namely painting, yoga, and
English, Italien and spanish languages. The cooperative
is organising events such as readers communities,
international seminars, writing contests, art exhibitions
and multimedia performances.
The Arte-Via Cooperative is an institution
without lucrative purposes that develops its action in a
local, regional and national level. Its context is inserted in
a social, economical and gender inequality. Therefore,
we try to fill in some necessities with an informal
formation program according to the basilar European
principles of apprenticeship throughout life. Until now,
our activity has always had the support, either from the
population, or from public or private institutions, local
and regional. Since 1999, when Arte-Via was founded,
we gave a major contribute to the cultural development,
in a large sense of the region where we are integrated.
The fundamental basis of the work conception of
Arte-Via Cooperative, as voluntary body, is the
involvement of all the learners and trainees that develop
their activity in the project area, in this case, arts. So,
57
from the phase of conception to the dissemination phase,
all them are going to be actively involved, participating
with their ideas, conceptions and ways of implementing
and developing good practices. Arte-Via will also
cooperate and interact with others local and regional
institutions working in the same field.
Arte – Via Cooperativa Artística e Editorial, CRL
is working in the art field and our main objective is
organizing activities and events related with the project
method and according to the purpose of the partnership
and the Arte-Via annual plan, mainly the development
and improvement of the skills of our artists.
From the beginning of its foundation, Arte-Via
uses in a practical way the results of the several and
different projects to benefit the adult learners and
professionals, so that they feel that their work has
contributed to ameliorate the quality of their skills and in
general, of their lives. So, the results will be artistic
works that can be read, seen and heard, and at last,
experienced. We also use all media to disseminate the
results and also internet, especially our site.
Studiefrämjandet
Studieframjandet is a non-profit adult education
organisation operating in the central part of Sweden.
Further it is a none government organisation, partly
financed by the National Government and Municipalities.
58
Studiefrämjandet works primarily with non-
formal adult education, the main focus of our work in
areas connected to our 18 member organisations. Among
these organisations are the Swedish Society for Nature
Conservation (SNF), the National Federation of Swedish
4H, the Swedish Hunters’ Association, the Swedish
Tourist Club (STF), and MoKS – an umbrella
organisation for music and culture associations.
Additionally, we also co-operate with numerous other
non-governmental organisations (so called NGO’s).
Studiefrämjandets role in the project will mainly
be to:
document the workshops
design the logo of the project
prepare the DVDs containing the data and
materials produced throughout the project.
Studiefrämjandet has several projects which mainly
aim to create new and better condotions for participants
in the risk of social exclusion.
Lancaster and Morecambe
College
Lancaster and Morecambe College (LMC) is a
public sector college of Further Education and the main
provider of Vocational Education and Training (VET) in
North Lancashire and South Cumbria in the North West
of England. LMC is situated between the city of
59
Lancaster and the seaside town of Morecambe and serves
the local area and the outlying rural communities. It
currently has around 1800 full-time students & 3000
part-time students. Its main role is to provide training in
vocational skills leading to employment and/or academic
skills leading to a University place.
LMC works collaboratively with local employers
and agencies to provide the local economy with a skilled
and motivated workforce leading to sustainable
employment in a variety of sectors. LMC’s role in the
local economy and community is reflected in their
mission statement;
“Providing Lancaster and Morecambe and
surrounding communities with an outstanding student
experience fullfilling vocational, personal and
employment goals”
LMC has a successful history of running events
that serve the needs of local community and its own
students. It is keen to further develop a strategic approach
to holding these events that involves students, staff and
local organisations to benefit the wider community.
LMC has been part of many innovative
international projects and initiatives in the LLP. LMC
was the first VET College in the UK to be awarded the
Leonardo da Vinci Certificate of Quality in Mobility and
holds an International School Award for its Transnational
work.
60
Asociación Andalucía En Obra Social
We are a Spanish NGO in Granada, Andalusia.
As the largest of the 17 autonomous communities of
Spain, is the best to evoke the most emblematic images
of a country famous for its flamenco shows and the pure
passion. It is a land that has given rise yet has inspired
great writers, poets, actors and painters. Andalucia gave
birth to Pablo Picasso and Velázquez and fascinated
novelists such as Ernest Hemingway and Washington
Irving. It is the scene of one of the most performed and
famous operas of all time, "Carmen" by Bizet. It is a
unique place where East and West blend and coexist
people of Christian origin, Gypsy, Arab and Jewish.
Our NGO was founded in 2009 in Granada; one
of the jewels of Spain and one of the most visited cities
by tourists from around the world, the capital for a long
time of the Arabs. Granada offers the most important
memories of this time in Spanish history, with the world
famous "Alhambra".
We mainly there and in the village Herrera; which
is situated in the south-east of the province of Seville and
has a privileged geographical location as it is located in
the center of Andalusia. Major cities (Seville, Granada,
Cordoba and Malaga) are less than an hour away. Our
main objectives are: education and non-formal and
informal education, promoting social inclusion and
employment of excluded social groups by origin,
ethnicity, culture or religion, to support any person or
group of people in need, promote cooperation and
cultural exchange between the association and any other
associations, governments, institutions and organizations.
61
To achieve this, the association organizes cultural
activities for further development and dissemination of
the culture of Andalusia, organizes all kinds of cultural
and artistic events, including exhibitions, conferences,
workshops, courses, concerts, travel, tours, festivals and
competitions. Some of our activities are: development of
projects that run the European Union guidelines, network
work together with other institutions and agencies, both
public and private, volunteer work, which is actively
involved in the development and implementation of
projects of the association, courses and workshops and
guidance, integration actions of different groups in
society, awareness-raising on gender and equality.
62
The Summary of The Project- Festival
Entrepreneurship for VET
Who:This partnership involved institutions
providing vocational education, representatives of
working life, non-profit organizations and bodies
responsible for vocational education and training at a
local level. The target group included the teachers,
trainers and other staff of the institutions mentioned
above who were interested in, or responsible for,
organizing activities to improve the professional skills
and competence of the participants.
What&How: This project improved the quality
and increase the volume of cooperation between
institutions which were interested in organizing festivals
and need a higher degree of professionalism. It was a
recognized feature of the partners that working in
collaboration with local employers and agencies could
have benefits in the long term by creating sustainable
employment opportunities to meet the demands of the
labour market. In this project the competence and
entrepreneurship of the target group were improved
through active involvement of each partner in peer
learning, team building activities and workshops.
Besides, participants made observations and research
good examples organised in partner countries. At the end
of this project the participants prepared a guidebook
about organizing festivals based on their work and
experience gained in the project.
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Moreover, an international festival was organized
in the country of the coordinator and participants from
each part of Europe were welcome to this festival. This
partnership went beyond this project and its results and
products were exploited.
When&Where: This Project started in September
2012 and ended in July 2014. In two years' time there
were flows to each partner to maintain the partnership
and implement the project activities efficiently.
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This book was written by the participants
of FestEVET team under the framework
of Lifelong Learning Programme –
Leonardo Da Vinci Project – Festival
Entrepreneurship for VET. In this book,
you can find information about hoe to
arrange a festival or event. It is designed
for those participating in a festival
organization. The tips in the book will
help you in the process of organizing your
festival.