cambridge international college€˜event management: strategy & planning” by lyn van der...

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EVMMod1(20X8) © CAMBRIDGE INTERNATIONAL COLLEGE ISBN 0 948182 85 X

International HQ: Attique House Business Centre, Route de Quennevais, St Brelade, Jersey JE3 8FP, Britain.Tel: + 44 1534 485485 Email: [email protected] Website: www.cambridgecollege.co.uk

A Warm Welcome from the Executives,Staff and Tutors of

Cambridge International College - Britain

STUDY & TRAINING GUIDE FOR MODULE ONE ON

EVENTS MANAGEMENT

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STUDY GUIDE FOR MODULE ONEA full ‘Study & Training Guide’ will accompany the

Study or Training Manual(s) you will receive soon by airmail post or courier.

This Study Guide - like all our Study & Training Materials - has been written by professionals; experts in the Training of many hundreds of thousands of ambitious men and women in countries all over the world. It is therefore essential that you:-

Read this Study Guide carefully and thoroughly BEFORE you start to read and study Module One, which is the fi rst ‘Study Section’ of a CIC Study & Training Manual you will receive for the Program for which you have been enrolled.

Follow the Study Guide exactly, stage by stage and step by step - if you fail to do so, you might not succeed in your Study & Training or pass the Examination for the CIC Diploma.

STAGE ONE

Learning how to really STUDY the College’s Study & Training Manual(s) provided - including THOROUGHLY READING this Study Guide, and the full ‘Study & Training Guide’ which you will soon receive by airmail post or courier.

STAGE TWO

Studying in accordance with the professional advice and instructions given

STAGE THREE

Answering Self-Assessment Test Questions/Exercises

STAGE FOUR

Assessing - or having someone assess for you - the standard of your answers to the Self-Assessment Test

STAGE FIVE

Preparing for your Final Examination

STAGE SIX

Sitting the Final Examination

Remember: your CIC Program has been planned by experts. To be certain of gaining the greatest benefi t from the Program, it is essential that you follow precisely each one of the SIX stages in the Program, as described above.

STAGE ONE is your thorough reading of this ‘Study Guide’

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ABOUT CIC STUDY & TRAINING MANUALSA CIC Study & Training Manual (which comprises 6 Modules - the fi rst Module of which follows) supplied by the College as part of your Program is NOT simply a text book. It must therefore not be read simply from cover to cover like a text book or another publication. It MUST be studied, Module by Module, exactly as explained in the following pages. Each CIC Study & Training Manual has been designed and written by specialists, with wide experience of teaching people in countries all over the world to become managers, administrators, supervisors, sales and accounting personnel, business-people, and professionals in many other fi elds.

Therefore, it is in your own best interests that you use the Study & Training Manuals in the way CIC’s experts recommend. By doing so, you should be able to learn easily and enjoyably, and master the contents of the Manuals in a relatively short period of time - and then sit the Final Examination with confi dence. Every Study & Training Manual is written in clear and easy to understand English, and the meanings of any “uncommon” words, with which you might not be familiar, are fully explained; so you should not encounter any problems in your Studies and Training.

But should you fail to fully grasp anything - after making a thorough and genuine attempt to understand the text - you will be welcome to write to the College for assistance. You must state the exact page number(s) in the Study & Training Manual, the paragraph(s) and line(s) which you do not understand. If you do not give full details of a problem, our Tutors will be unable to assist you, and your Training will be delayed unnecessarily.

Start now by reading carefully the following pages about Stages Two, Three and Four. Do NOT, however, start studying the fi rst Study & Training Manual until you are certain you understand how you are to do so.

STAGE TWO - STUDYING A CIC MODULESTEP 1

Once you have read page 1 of this document fully and carefully, turn to the fi rst study section - called Module One - of Study or Training Manual One.

Read the whole of Module One at your normal reading pace, without trying to memorise every topic covered or fact stated, but trying to get “the feel” of what is dealt with in the Module as a whole.

STEP 2

Start reading the Module again from the beginning, this time reading more slowly, paragraph by paragraph and section by section. Make brief notes of any points, sentences, paragraphs or sections which you feel need your further study, consideration or thought. Try to absorb and memorise all the important topics covered in the Module.

STEP 3

Start reading the Module again from its start, this time paying particular attention to - and if necessary studying more thoroughly - those parts which were the subject of your earlier notes. Do not pass on to other parts or topics until you are certain you fully understand and remember those parts you earlier noted as requiring your special attention. Try to fi x everything taught fi rmly in your mind.

Note: You might not wish to, or be able to, carry out Steps 1, 2 and 3 one after the other. You could, for instance, carry out Steps 1 and 2 and then take Step 3 after a break.

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STAGE THREE - ANSWERING SELF-ASSESSMENT TESTS

STEP 4

When you feel that you have fully understood and learned everything taught in the whole Module (and if necessary after a further careful read through it) turn to the Self-Assessment Test set at the end of it, and read the Questions/Exercises in it carefully. You do not have to attempt to answer any or all of the Questions/Exercises in the Test, but it is best that you do so, to the best of your abilities. The reasons for this are:-

By comparing your answers with the Recommended Answers printed in the Appendix at the end of the Module (or after the fi nal Module in a Manual) you will be able to assess whether you really have mastered everything taught in the Module, or whether you need to study again any part or parts of it.

By answering Questions/Exercises and comparing your attempts with the Recommended Answers, you will gain experience - and confi dence - in attempting Test and Final Examination Questions/Exercises in the future. Treat the Self-Assessment Tests as being ‘Past Examination Papers’.

Professional Advice on Answering Self-Assessment Test (and Examination) Questions and Exercises

1. You may answer the Questions/Exercises in a Self-Assessment Test in any order you like, but it is best that you attempt all of them.

2. Read very carefully the fi rst Question/Exercise you select, to be quite certain that you really understand it and what it requires you to do, because:

some Questions/Exercises might require you to give full “written” answers;

some Questions/Exercises (called “multiple-choice questions”) might require you only to place ticks in boxes against correct/incorrect statements.

In your Final Examination you could lose marks if you attempt a Question/Exercise in the wrong way, or if you misread and/or misunderstand a Question/Exercise and write about something which is not relevant or required.

3. Try to answer the Question/Exercise under ‘true Test or Examination conditions’, that is, WITHOUT referring back to the relevant section or pages of the Module or to any notes you have made - and certainly WITHOUT referring to the Recommended Answers. Try to limit to about two hours the time you spend on answering a set of Questions/Exercises; in your Final Examination you will have only two hours.

4. Although you are going to check your Self-Assessment Test answers yourself (or have a friend, relative or colleague assess them for you) practise writing “written” answers:-

in clear, easy-to-read handwriting;

and

in good, grammatical language.

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STAGE FOUR - ASSESSING YOUR ANSWERSSTEP 5

When you have answered all the Questions/Exercises set in Self-Assessment Test One to the best of your ability, compare them (or ask a friend, relative or a colleague/senior at work to compare them) with the Recommended Answers to that Test, printed in the Appendix at the end of the Module (or the last Module in a Manual.) In any case, you should thoroughly study the Recommended Answers because:-

As we have already explained, they will help you to assess whether you have really understood everything taught in the Module;

and

They will teach you how the Questions/Exercises in subsequent Self-Assessment Tests, Progress Tests and in your Final Examination should be answered: clearly, accurately and factually (with suitable examples when necessary) showing your knowledge and understanding, with details and explanation, and how they should be planned and well-laid out for maximum effect and marks.

MARKS AND AWARDS

To assist in the assessment and grading of your answers, the maximum number of marks which can be earned for each answer to a Self-Assessment Test Question/Exercise is stated in brackets at the end of each one.

The maximum number of marks for any one Test is 100.

Your answers should be assessed fairly and critically. Marks should be awarded for facts included in your answer to a Question/Exercise, for details, explanations and descriptions, for presentation and for neatness. It is not, of course, to be expected that your answers will be identical to all those in the Appendix. However, your answers should contain the same facts, although they might be given in a different order or sequence - and any examples you give should be as appropriate to the Questions/Exercises as those given in the relevant “Recommended” Answers.

Add together the marks awarded for all your answers to the Questions/Exercises in a Self-Assessment Test, and enter the total (out of 100) in the “Award” column in the Progress Chart which you will fi nd with the full ‘Study & Training Guide’ when you receive it. Also enter in the “Matters Requiring Further Study” column the number(s) of any Question(s)/Exercise(s) for which you did not achieve high marks.

GRADES

Here is a guide to the grade your Self-Assessment Test Work has achieved, based on the number of marks awarded for it:

50% to 59% PASS 60% to 64% HIGH PASS 65% to 74% MERIT 75% to 84% HIGH MERIT 85% to 94% DISTINCTION 95% to 100% HIGH DISTINCTION

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The Examiner who assesses your Final Examination answers will take into account that English might not be your national or main language. Nevertheless, to be able to assess whether you really have learned what we have taught you, he or she will need to be able to read and understand what you have written. You could lose marks if the Examiner cannot read or understand easily what you have written.

5. Pay particular attention to neatness and to layout, to spelling and to punctuation.

6. When “written” answers are required, make sure what you write is relevant to the Question/Exercise, and concentrate on quality - demonstrating your knowledge and understanding of facts, techniques, theories, etc. - rather than on quantity alone. Write fully and clearly, but to the point. If you write long, rambling Final Examination answers, you will waste time, and the Examiner will deduct marks; so practise the right way!

7. The Questions set in our Self-Assessment and Progress Tests should be treated as being “Past Examination Questions”. Therefore, you should read and study carefully the ‘recommended answers’ we provide because they form an integral and essential part of the Study & Training Program as a whole. Read the wording of each Question/Exercise carefully, and note, in particular, how our answer to each is presented and explained fully and clearly - not too briefl y; whilst at the same time being detailed, but not over-long and rambling. To gain high marks, your own answers should certainly be no shorter or less detailed than our Recommended Answers.

It is important that your own answers to Test and (in due course) Examination Questions/Exercises are presented in a similar clear, detailed and easy to read style, to ensure that you receive the best possible marks and award in due course for your Examination Work. Brief, incomplete answers, or lists of unexplained “bullet points”, are not suffi cient to gain good marks. It is better for you to write in more detail than too little, so long as your answers are clear and relevant. Include examples where helpful, and use wisely all the “time allowed” (usually two hours) in which to write full, well-explained answers. Plan your answers, and ensure that you answer all sections or parts of each question.

An Assessor needs to be shown by your answers that you really have understood what we have taught you in the Modules - and that you could implement and use the various subject-matters in practical work situations - so make sure your answers demonstrate that!

8. When you have fi nished writing your answer, read through what you have written to see whether you have left out anything, and whether you can spot - and correct - any errors or omissions you might have made.

Warning: some Questions/Exercises comprise two or more parts; make certain you have answered all parts.

9. Attempt the next Question/Exercise in the Self-Assessment Test in the same manner as we have explained in 1 to 7 above, and so on until all the Questions/Exercises in the Test have been attempted.

Note: There is no limit on how much time you spend on studying a Module before answering the Self-Assessment Test set on it, and some Modules are, of course, longer than others. You will, however, normally need to spend between twelve and fi fteen hours on the thorough study of each Module - and that time may be spread over a number of days if necessary - plus approximately two hours on answering the Self-Assessment Test on each Module.

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STEP 6

Study again thoroughly the section(s) of the Module relating to the Question(s)/Exercise(s) to which your answers did not achieve high marks. It is important that you understand where or why you went wrong, so that you will not make the same mistake(s) again.

STEP 7

When you receive the complete Study or Training Manual One** from the College by airmail post, ‘revise’ - study again - Module One printed in it, and then turn to Module Two and proceed to study it thoroughly in exactly the same way as explained in Steps 1, 2 and 3 in this ‘Study Guide’.

When you have completed your thorough study, follow steps 4, 5 and 6 for the Self-Assessment Test on Module 2.

Continue in the same way with each of Modules 3, 4, 5 and 6 until you have attempted and assessed your work to Self-Assessment Test 6, and have completed the study of Study or Training Manual One. But - and this is important - study the Modules one by one; complete Steps 1 to 6 on each Module before you proceed to the next one (unless during the course of your reading you are referred to another Module).

**Note: When you receive Study or Training Manual One by airmail post or courier, it will be accompanied by a 24-page ‘Study & Training Guide’ (containing a ‘Progress Chart’) which you MUST read very carefully before starting your study of Module Two.

Above are scenes from a Graduation Ceremony held in Egypt attended by College Vice Principal, David Lawson, who presented awards to CIC Members from Egypt, Saudi Arabia, Kuwait, Qatar, Libya, Yemen (middle left) and Nigeria (bottom left)

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International HQ: Attique House Business Centre, Route de Quennevais, St Brelade, Jersey JE3 8FP, Britain.Tel: + 44 1534 485485 Email: [email protected] Website: www.cambridgecollege.co.uk

STUDY & TRAINING MANUAL ON

EVENTS MANAGEMENT

Module OneCONTENTS

Module One - The Event Project 10 Historical background to events The modern meetings & events industry Broad categories of events: personal, corporate, arts & culture, sporting, associations, media, advertising, community, educational, common interest groups, political Guide to sizes of events Indoor and outdoor event venues Events and projects: events management and project management skills differences between events and other projects: time and fi nancial constraints Events and attractions: relationships and differences site and event attractions, combinations Parties to an event: initiators, planners, manager, stakeholders, sponsors, service providers, promoters Stakeholders: primary and secondary positive and negative the host community Event creation: environmental scanning: information gathering and analysis the “fi ve Ws of event creation”: reasons why an event is to be held; profi t, fundraising, etc who an event is for; participants, spectators, attendees when best to hold the event, considerations where to hold an event; the venue, considerations what purpose is to be achieved by the event brainstorming to produce ideas Feasibility of an event: technical feasibility fi nancial feasibility viability - possibility of achieving its objectives

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The WOW factor of an event: adding something special or memorable Theming the event: developing its concept into a theme to shape and unify the event Using checklists - example The event program: the detailed schedule of activities The summarised printed programme Programming: the art of selecting and arranging the elements of an event

Recommended Answers to Self-Assessment Test One 26

You will fi nd the Contents/Syllabus of what you will learn in Modules 2 to 12 of this Program starting on page 28

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THE EVENT PROJECT

Introduction

In general terminology an “event” is an occurrence or a happening at a determinable time and place; a planned public or social occasion. However, in the context of events management, an “event” can be defi ned as:

“A temporary public gathering of people for a purpose”.

The need to organise and hold or conduct or “stage” an event is by no means a modern phenomenon. Ever since groups of people - families, clans, tribes, communities - gathered together there has been a need to hold events, commonly for social, cultural or trading purposes. From the earliest times and the beginnings of civilization, leaders of tribes or armies would gather to conduct peace talks or negotiations.

In ancient times, just as today, sometimes huge organised celebrations were held to mark the accession of a new leader - such as a king, pharaoh, emperor or president - or the marriage of notables, or the burial of a deceased leader, or for reasons of religious observance or ritual or professions of faith, such as feast days, fast days or festivals.

Amongst the enormous variety of reasons or motivations for staging events, many serve as social opportunities for people to strengthen their local communities, whilst others spread awareness for “causes” - some community related, such as a concern for the local environment - whilst others fundraise for local, national or overseas causes - such as to alleviate famine, aid victims of earthquakes or confl icts, and many others. There are events which help to bring people together, helping them to communicate and, as appropriate, to share and gain a better understanding of their diverse cultures.

Some events are organised for political purposes, either for leaders of countries or parties to “put across” their messages, or to address matters of national or public interest or importance, or to give citizens the opportunity to “voice” their concerns and to be heard by government. Some events might be used by governments or citizens to resolve civil issues or to celebrate national or religious holidays, or for the joy of participation and entertainment, such as parades, pageants, festivals and carnivals.

It is important to emphasise the “temporary” nature of events; the term means: “lasting for only a limited period of time; not permanent”. Some events might have very short time-frames; just an hour or two. Others might extend over days or weeks or even longer - but they are not “permanent”, that is, lasting or intended to last or remain relatively unchanged indefi nitely. For example, a stage play at a theatre might be performed day after day over many weeks or months; it is not by defi nition an event. But if the cast of the play put on a special gala or one-off fundraising performance, that could be classed as an event.

The Meetings and Events Industry

It is quite accurate to refer to the “meetings and events industry”, because the “industry” produces, markets and provides or “stages” products - which are organised events. The meetings and events industry is far-reaching and diverse, but can be divided broadly into a number of sectors, based along “content” lines, as follows:-

Sports and similar activities requiring competitors’ physical dexterity and skills, and/or mental skills.

Business meetings, conferences, expos (short for expositions or exhibitions).

Module One

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Tourism, travel and hospitality

Culture, the arts and music

Events can be staged for both profi t and non-profi t reasons, or “motives”, by businesses, by central government, or by local government or civic departments, or by large or small communities. Events can be held for commercial, celebratory, entertainment or specifi c reasons and/or for “causes” - such as fundraising for specifi c purposes.

The variety of events which might be organised is enormous, and is evolving year by year, but we can see them as falling primarily into a number of broad categories, which include:-

Personal events: These might be held to celebrate what are called “life moments”, such as birthdays, anniversaries, marriages, funerals, memorials, religious festivals, and celebrations such as baptisms (or equivalent in different religions).

Corporate orbusiness events:

These are held primarily to inform the appropriate “market” - which is composed of likely customers - about an organization’s products. The initials “MICE” are often used to refer to “meetings, incentive travel, conferences and expositions”. However, corporate events might also include seminars, workshops, shareholders’ or stockholders’ meetings and annual general meetings (AGMs), retreats, incentive and award ceremonies, professional development and team building activities, sponsored events, galas, product launches, celebrations, recreation, symposiums.

Cultural andreligious events:

These might be conducted for entertainment, such as musical performances, concerts, theatre, opera, recitals, ballets, plays, performances, visual arts, art exhibitions, museum tours, multicultural, local community, celebrations, cultural shows, or religious ceremonies.

Sporting events: These might involve competitions or matches, ranging from small local events to large-scale events like the World Games or World Cup football, golf, cricket, baseball, rugby, hockey, tennis, athletics, motor rallies and racing, and many others.

Professionalassociation events:

These might be industry-specifi c trade conferences, trade and agricultural shows, professional and personal development sessions, awards nights, celebrations, members’ meetings, product or service initiatives/launches.

Media or advertisingevents:

These include marketing functions, sales promotional activities, product launches, awards ceremonies, roadshows, special events, sponsored events, exhibitions. Events are commonly staged as a “marketing tool” for strategic marketing and communication by organizations of all sizes. Businesses can benefi t from promotional events by communicating with current and potential customers and/or clients. Such “advertising-focused events” can involve press conferences, promotional events, or product launches which introduce new products onto the market.

Community, NGOsand associationsevents:

These are conducted by organizations for various reasons and in various ways, including to celebrate national days, to fundraise, to build awareness, for charities; and through events such as campaigns, celebrations, tourism promotions, village fetes, carnivals and pageants, air displays.

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Educational: colleges, universities and schools events:

These include on-campus functions, festivals, freshers or rag weeks, dances and proms, graduation ceremonies, awards presentations, open days or open evenings, celebrations, openings of new facilities.

Common interestgroups’ events:

These are held by organizations (such as clubs, associations and societies) or groups of people who share a common interest and who work together to protect and promote that interest. The interests of different groups can differ widely, from collecting (postage stamps, coins, books, etc) to various sports, outdoor activities, animals and livestock, religion, and recreational activities (reading, sewing, cooking, and many others.) Their events are equally wide-ranging and differ in size, and can include scouting jamborees, “special days” (such as World Youth Day), horse racing, international sports events, guest speakers, visits of religious leaders, public events and celebrations, parades, sports matches/competitions, tourism, dog or cat or horse or other animal shows and competitions.

Political events: These, as we have already mentioned, include rallies, campaigns and public demonstrations which might be held to show or solicit support for a potential leader or a political party or to use people’s combined “voice” to bring matters to the attention of the authorities, locally or nationally.

You will appreciate that some seemingly similar events might fall into two or more of the broad categories; for example, a musical event might be staged not only to entertain and to give pleasure to listeners and viewers, but also as a fundraiser (to generate income and to gain donations) for a particular cause. Some events are “one-off”, but increasingly the interest generated in events and the momentum of events is an encouragement to repeat them yearly, bi-annually, or every 4 years. Whatever the event, for it to be “viable” it must be capable of successfully achieving its objective(s).

Another way of classifying events is according to the number of participants (and/or spectators). Although there is no fi xed rule, an often-used guide is:-

small events are composed of up to 30 persons

medium-sized events have up to 100 participants

large events are attended by up to 300 people

mega events (such as the Olympic Games) might involve thousands of people

Events might be put on - or “staged” - by many different people, groups of people or organizations, including businesses, central and local government agencies, professional associations, events agencies or industry professionals, media and advertising enterprises, communities, non-governmental organizations (NGO’s), charities, educational institutions, special interest groups, sporting leagues/competitions, and numerous others.

Locations or “venues” where or in which events might be held are equally diverse, and vary considerably in size, and can include:-

Indoor: Stadiums and arenas, gymnasiums, theatres, hotels, school halls, town or village halls, purpose built halls or convention centres or conference halls, marquees, boats, boardrooms, places of interest (religious premises, theme park buildings, zoo buildings, heritage or historic buildings) and many others.

Outdoor: Stadiums and arenas, sports fi elds or pitches, swimming pools, parks, beaches, greenfi eld (farm) sites, greenfi eld (national parks), deserts, on water (such as regattas and boat races).

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Events and Projects

A “project” is a temporary or short-term endeavour with a defi ned beginning and end, which is planned and carried out to produce a unique product, service or result.

“Events management” is the application of project management skills to the creation and development of both small and large-scale events, such as festivals, conferences, ceremonies, formal parties, concerts, sporting events and conventions. It involves studying the event aims and purpose, identifying the target audience, devising the event concept, and co-ordinating the technical aspects before actually “launching” the event.

The processes of planning and co-ordinating the event are usually referred to as “event planning”, which amongst many activities can include: budgeting, scheduling, site selection, acquiring necessary permits, co-ordinating transportation and parking, arranging for speakers or entertainers, arranging decor, organising event security, undertaking health and safety assessments, arranging for catering, co-ordinating with third party vendors, preparing emergency plans, and a wide range of other matters.

The modern “events & meetings industry” includes events of all sizes, ranging from enormous, world-wide events like the Olympic Games, down to business breakfast meetings. Many industries, charitable organizations, and interest groups hold events in order to market themselves, build business relationships, raise money, or celebrate achievements.

Although the term “event project” is widely used, in practice an event can differ in a number of signifi cant ways from other types of projects. Very often any type of project is “time-constrained”, which means that it is required to be completed within a specifi ed time-frame agreed in advance, and it is important to keep a project “on-time”, because there might be “penalties” for running “over-time”. But the end date for a project might be changed, delayed or even “put on hold” if circumstances warrant. There are some projects which can be delivered in stages or phases; that is, some parts of a project might be completed whilst other parts of it are on-going and continue to be worked on.

However, the end date of an event is almost always fi xed well in advance and cannot be changed under any circumstances; even if the preparations for it are incomplete, which is summed up in the statement: “the show must go on”. By this we mean that the event is the culmination of work over a period of time - which is sometimes quite lengthy - but all the effort are directed into the fi nal or “end product” - which is the event.

Equally often an event - just like any other project - is constrained by funding or fi nances available or by the “budget” allocated - that is, an amount of money available for spending which is based on a plan made in advance for how or on what it will be spent. Every effort needs to be made to keep a project “on-budget” - that is, within the allocated or anticipated costs - and not allow it to run “over-budget” - that is, costing or being more than the amount allocated or budgeted. Whereas with some projects fi nancial and other resources might be varied as circumstances change, the resources committed to an event are likely to remain constant.

Events and Attractions

An “attraction” in this context is something which appeals to people, who might be residents of an area, or visitors or tourists to that location. An attraction is something which creates and arouses interest and a desire to see, or to hear or to participate in; it is really an appeal to the senses (such as sight and hearing) and might motivate people to visit a particular location - such as a building or an arena or stadium - or to take a holiday or vacation in a particular destination.

There are “natural attractions” such as mountains (which may be individual peaks or mountain ranges or chains), volcanos, rivers, waterfalls, canals, lakes, deserts, glaciers, canyons, rolling countryside, beaches, game reserves, fjords, and so on; as well as climatic conditions, such as sun, blue skies, clean/fresh air, etc. Others are “man-made attractions”, such as museums, libraries, art galleries, theme parks, zoos, wildlife parks and

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marine centres, historic or religious sites and buildings and other constructions, or those of architectural interest, antiquities, and so on.

The possible range of attractions is very large and varied, and that range is continually being widened as people are able to travel more widely within their own countries or to other countries, and to experience other cultures. Nevertheless, it is possible to categorise attractions as falling into three main categories:-

Site attractions - which might be countries or areas of countries or groups of countries, or geographical regions, islands, or cities or holiday/vacation resorts. In effect, it is the location itself which appeals to people.

Event attractions - which might be exhibitions, important sporting fi xtures (such as the Olympic Games and the World Cup Football Final), international conferences, carnivals, festivals, religious ceremonies, and so on. Many people opt to visit the location because of what is taking place there at the time they propose to visit - or they will time their visits to coincide with the particular event being staged.

Combined site and event attractions - many sporting and other events are likely to have greater and added appeal if they are held in locations which also have site attractions (natural and/or man-made; for example a skiing competition which is held in a beautiful snow-covered mountainous location with historical connections).

Despite their sometimes close relationship, there are signifi cant differences between events and the attractions in or around which they take place, and especially between temporary events and permanent attractions such as historic venues, although many events take place for a pre-planned period at such venues. Two examples will help to make the distinction clear:-

Many permanent art galleries put on exhibitions of the works of local or well-known artists, or those by grand masters for a limited period only. Such exhibitions might last for several weeks or even for as long as a year, but whilst their attraction to both local residents, visitors or tourists is clear, their limited duration places them in the category of events.

Historic buildings such as castles - which are themselves attractions - might contain added attractions, such as permanent exhibitions of historic costumes or weapons or furniture - which are open to the public for all or part of a year. However, from time to time a military display - or “tattoo” - might be staged for spectators in the castle grounds, which is clearly an event in its own right.

Quite often, one “event” is itself composed of two or more separate smaller or sub-events. For example, an event might be a week long music festival or cultural festival. At different times during that week:

In the case of the music festival, there might be a number of quite separate but connected musical performances by different bands or orchestras or groups playing different instruments, styles of music, etc, concurrently or on different days, at different times and perhaps in different locations within the venue.

In the case of the cultural festival, there will probably be a variety of cultural activities, such as plays, shows and dances held concurrently or on different days, at different times and possibly in different locations within the venue.

During each of the festivals, some of the sub-events might appeal to different people, who will be spectators of or performers in some of these sub-events but not in others.

The organisers (see below) of the “main” or “over-arching” event will delegate or transfer responsibility for organising the “sub-events” to other people or groups, but will co-ordinate and control each of the sub-events so that each takes place when and where it has been planned, to ensure that the overall event proceeds smoothly.

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The ‘Parties’ to an Event

Some events are “spontaneous”, that is, they occur as a result of a sudden impulse or inclination and without premeditation or prior planning. For example, the unexpected news of the death of a “beloved” leader or another national or well-known fi gure or star might result in a sudden and unplanned - spontaneous - outpouring of grief, which might spill over into the streets.

In direct contrast, the event of the actual funeral later of that same person is likely to be planned, organised and managed in meticulous detail, and might follow long-standing tradition or laid down and expected ritual. There might be pomp and ceremony, music and speeches, and the funeral procession might be witnessed by many thousands of people lining the streets along which the cortege passes (as well as possibly hundreds of thousands, or millions more watching on television or via social media, etc.)

In this Program we are concerned with the second scenario, that is, with events which are predetermined and initiated, planned and organised and staged for specifi c purposes. For the successful “delivery” of a managed event it is necessary to plan times and a “program”, bearing in mind that there is a defi nite end to the “project” - which is the event itself.

Depending on its size, scope and objective(s), the staging of a planned event might involve a number of different people, groups of people, as well as entities, such as businesses and government agencies. We can categorise them broadly into four groupings, and although we will be discussing each in more detail during the Program, we can summarise them at this time as being:-

The Event Initiator(s): This may be one person or a group of people who instigates

or begins the creation process leading to the staging of an event by coming up with a “concept” - an abstract idea - for a new event, or by setting in motion the processes necessary to stage a similar event to one which was staged previously.

The Event Planner(s): Once the concept for an event is accepted, the next stage involves planning it. Event planning involves working closely with the initiator(s) to design an event which refl ects the vision the initiator has for the event, and which meets the event’s objective(s); in effect, the plans are the “theory”, indicating the routes to achieving the objectives by converting the concept into reality. The initial discussions with the initiator are likely to concern event ideas, themes, desirable dates and budget guidelines, which are all part of the event planning process.

Planning of various event aspects continues all the way through until the actual event takes place (and often also continues after its conclusion.) Planning might be performed by just one person in the case of a small event or meeting. For larger events, planning might be undertaken by a number or team of people, or a “planning committee” or an “organising committee” might be set up, perhaps supported by advisors, specialists and a range of other persons and entities.

A mega event, such as the Olympic Games, will have “national planning committees”, which are ultimately accountable to the overall international body, the IOC (International Olympic Committee).

Depending on the type and size of an event, the person(s) responsible for planning might be employees of the organization staging the event, or might be unpaid “volunteers”, or the function might be “outsourced” or transferred to professional event organising businesses, or there might be a combination of the foregoing.

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An Event Manager: He or she is a vital member - the leader - of the event planning team. Every type of event is made up of numerous parts which must fi t together like pieces of a jigsaw puzzle; all those pieces must ultimately come together smoothly - or “seamlessly” - to create and deliver a successful event. Successful events have all the relevant and related pieces coming together at the right times and in the right places, smoothly and effi ciently and according to the agreed plan.

An event manager is the person who is tasked with executing the plans and transforming the theory into “reality”, that is, into the end product: the event itself, and who takes responsibility for the creative, technical, and logistical elements. Those responsibilities can include overall event design, brand building, marketing and communication strategy, audio-visual production, script writing, logistics, budgeting, cash fl ow planning, risk assessment, human resource management, negotiation, and client service. The various activities might be undertaken by other people, but the event manager or leader is ultimately responsible for co-ordinating and controlling their efforts, and he or she is in every respect a “manager”.

All the responsibilities mentioned, and others, are examined and considered in the Modules of this Program.

Stakeholder(s): They comprise a person, group of people or organization having an interest or concern in an event. Stakeholders can affect or be affected by the actions, objectives and policies of the event organiser, or decisions taken regarding, activities, or outcomes of an event.

Stakeholders involved will vary from event to event, and might include: the event organiser’s employees, a volunteers service, contractual providers (such as catering, merchandise, amusement, structures and equipment businesses) emergency services (such as the local ambulance service, police, and fi re services) the local council, transport services (bus, coach, rail, as appropriate, parking), representatives of media, participants, members of the public who attend the event, and the “audience” which comprises those at whom the event is directed or aimed.

Sponsors: These are businesses (and sometimes government agencies and/or other types of organizations) which support - usually fi nancially, but sometimes in other ways - the event being planned and staged.

Sponsorship is not an act of “charity” - it must show some form of positive return on the “investment” (ROI) in the event made by a sponsor. A wide range of benefi ts might accrue to a business from carefully selected sponsorship, including raising brand awareness and creating buyers’ preferences for those brands; creating positive public relations (PR) and an awareness of the organization as a whole; supporting a sales promotion campaign, or using corporate hospitality to promote good relations with customers and/or clients.

The organization receiving the sponsorship - referred to as the “sponsee” - stands to benefi t signifi cantly from both fi nancial support and/or other forms of backing from an established partner, provided that both parties agree a set of common objectives to underpin the sponsorship. We consider corporate sponsorship in detail in Module 5.

In addition to the foregoing, a range of other parties might be involved in the planning and staging of certain events, including:-

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Event service providers - who or which might be used for catering, cleaning and waste disposal when needed, as well as for security and risk assessment as required by a particular event. Party and equipment hire businesses are usually able to provide anything needed for an event, ranging from chair covers to scaffold ing, stage equipment, lighting, sound systems, stages, props and seating. Although event suppliers generally provide such tangible items, they might also be called upon to provide operational support such as information technology and catering, when needed. Broadly speaking, they fall under the event planning and management section.

Promoters - who or which have a crucial part to play in the organisation and staging of certain major events. An entertainment promoter in industries such as music, wrestling, and sports is an individual or organization in the business of (that is, whose main business activities are) marketing and promoting live events such as concerts/gigs, sports events, professional wrestling events, festivals, raves, and nightclub/disco activities.

An event promoter’s task is to generate “buzz” for and excitement about up-coming events, ranging from concerts to monster-truck rallies, and to “get people in through the gates” - that is, to ensure people (the paying public) buy tickets and attend the event. Promoters are tasked with developing strategic marketing plans to cover all available avenues of advertising in advance of the event. Depending on the arrangement between an event organiser and a promoter, a promotor might also handle event security, ticket sales, admission (entry) to an event or establishment (door policies), decorations, and the booking of entertainers.

Stakeholders The stakeholders for a particular event might conveniently be classifi ed as being either “primary” or “secondary” on the basis of the nature of their engagement in the event, and/or on the basis of the impact which they might have on the event which is to take place or which is taking place.

Primary stakeholder groups are deemed essential to an event because without them the event cannot happen or cannot take place; without the direct support of these stakeholders the event would not be viable, and could not achieve its objective(s). The essential primary event stakeholders can include employees; volunteers; sponsors; suppliers; support services. Spectators, attendees, and participants can also be primary stakeholders because they support the event which would be unviable without them; in return, they are “rewarded” with entertainment or some other source of satisfaction.

Secondary stakeholders are also important to the success and survival of the event, but they do not have the same direct impact on the event as do the primary stakeholders. These stakeholders might include local and/or central government agencies; the host community; emergency services; general businesses; and tourism organizations. Media organizations (newspapers, TV, radio, etc) which support or promote the event (in return for advertising revenue) can also be classed as secondary stakeholders (unless they are sponsoring the event, in which case they will be classed as primary stakeholders.)

You will appreciate that not all stakeholders are “equal” - in terms of input or infl uence - and most, if not all, stakeholders are likely to have different requirements and expectations. Event organisers and managers need to treat each and every stakeholder carefully according to their requirements and expectations; a failure to do so could jeopardise the success of an event due to lack of co-operation or outright hostility and obstructiveness.

Stakeholders might exert either a positive or a negative infl uence:-

A “positive” stakeholder sees and acknowledges the event’s positive and desirable outcome, and might also benefi t from its occurrence and success in one way or another (for example, hotels, retailers or food outlets in the vicinity of an event might benefi t from an infl ux of visitors to the area). These stakeholders can assist the event organisers and manager in various “positive” ways (such as publicity) to successfully stage an event.

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On the other hand, a “negative” stakeholder sees and anticipates undesirable outcomes from the staging of an event, and might be unfavourably impacted by the event or its outcome (for example, residents or those living nearby might be affected by noise, dust, litter, traffi c congestion, etc). This type of stakeholder is less likely to help the event to be successful, and might actively attempt to obstruct or delay or prevent it happening.

In some cases a section of the public - which might be the “host community” in which the event is to take place and on which it will impact - or the general public at large can be a stakeholder. In this situation it would be impractical to engage with the whole community or population, and therefore the event initiators and/or organisers will consult their public fi gures or local or national leaders to better understand their requirements and expectations. An important consideration might be the local or national media, which might report on the event favourably/positively or negatively, and in doing so might infl uence the thinking and behaviour of other stakeholders.

Event Creation

Event creation and “theming” (deciding upon the event’s themes) are at the very heart of the event management process, and that applies both to new events, and to events which have been held previously and which are being repeated. These processes determine the quality of the “event experience” and the emotional impact which the event has in due course on its audience.

Event creation is a crucial element of the research and design stages of the event management process (see Fig.1/1) during which critical decisions must be made about the overall style and content of the event. Successful event creation will result in an “event concept” which will be a powerful driver of the other components of the event, and of the whole event management process.

Fig.1/1. the event management process

Environmental Scanning

Before important decisions on the theme and program of the event are made, it is important to take some time to analyse the context in which the event will be staged; for example:-

What are the current social and environmental forces which are likely to have an impact on the event?

Are there political considerations which need to be taken into account?

What is the state of the country’s economy, and how will that infl uence people’s willingness to purchase tickets or to spend money on the event?

What themes or trends are current (popular and unpopular) in the marketplace?

Are there established “interest groups” which are likely to connect with the event, and is the event likely to gain the attention and support of the media?

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What or who is the potential audience, that is, what types of people from what areas and in what age groups are likely to attend, and how can they be reached?

It is important to have a sound “feel” for the event context and the market before embarking on the process of developing the event concept.

There are fi ve key questions - often called the “fi ve Ws of event creation” - which should be asked and answered thoroughly as part of the event creation process:

Why? Who? When? Where? What?

Why?

What is the purpose of the event, why is it going to be held? What will it be trying to achieve, and what will be the critical measures of its success? The event might have a number of objectives, such as to attract and entertain an audience, to make a modest profi t or to raise funds (perhaps aiming at a specifi c target fi gure or amount) or to raise awareness of a sponsor’s product, and so on. The event concept will need to support and satisfy these objectives. (We discuss in a later Module the subject of objective-setting for events.)

Who?

Who is the “target audience” - the particular group at which the event will be aimed? Some events, for example, might attract multiple market segments, for example, families and young singles/couples. A clear understanding of the “target market” of the event will assist in tailoring the event concept to appeal to and meet the needs and tastes of its audience. (We consider audience selection in the Module on marketing.)

When?

When is the ideal time to hold the event? This can involve a consideration of what time or season of the year, what day of the week, and what time of the day or night will have the best “fi t” with the requirements of the event and the needs of the audience. This will, of course, vary according to the exact nature of the event, and to the behaviour patterns and availability of the audience. For example, a family event might best be held on a weekend during the daytime. An event targeting an audience of young singles and couples might best be held on a Friday or Saturday night. An event for senior citizens might best be held on a weekday morning or afternoon.

In some countries many outdoor events will be particularly sensitive to seasonal factors, such as weather and available daylight. The timing of most events will need to take into account “global factors” such as public and school holidays/vacations, elections, major sporting events and other events with a similar time frame, which might compete for audience attendance and media exposure.

Where?

Where is the best venue or location to stage the event? Choosing the venue for an event will involve both operational and aesthetic considerations. Practical issues will include: the hire/rental costs and preparation or “set-up” costs; the capacity of the venue in relation to the anticipated number of attendees; ease of access, transport and parking; availability of necessary facilities, such as staging, power, water, catering and toilets; and also the fl exibility of the venue management and the levels of co-operation and assistance which are likely to be given to the event organiser and manager.

However, the choice of venue will also be an important factor in the creative impact of the event. Ideally, the venue should contribute to the overall “ambience” (or character) and “atmosphere” (the pervading tone or mood) of the event. Choosing an attractive venue might add to the appeal of the event; for example, staging a concert on a riverbank or in a botanical garden. Choosing an unusual venue might add an element of surprise or

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adventure; for example, fi nding a venue not usually available to the public, such as a factory or a military barracks. Choosing a formal venue might add to the dignity and importance of an occasion, such as using a town hall or a cathedral (or similar religious building) in which to stage an offi cial ceremony.

Usually the managements or owners of potential event venues - such as those which offer facilities for conferences and weddings - provide a range of services which support the delivery of an event, including catering, bar service, cleaning, washroom facilities and security. In contrast, in some circumstances an event organiser might hire/rent a venue as a “blank canvas” - that is, it has no content and it can therefore be “custom-designed” or built and fi lled to the specifi c requirements - and all aspects of the event can be planned around it. (Account must be taken of the fact that everything erected will have to be dismantled or disassembled and removed from the venue at the conclusion of the event.)

A venue might be a “built environment”, such as a banquet room or a sports centre, whereas the term “site” is generally used to refer to an outdoor space, such as a large garden or a park, at which an event is held. A “greenfi eld site” refers to a site which has no permanent buildings or other infrastructure, and therefore all equipment needs to be brought in, including portaloos (portable or temporary toilets), kitchens, bars, stages, seating, etc (and removed after the event.)

Selecting a venue will involve balancing all the foregoing diverse features and factors, and making the best choice in relation to the perceived needs of the event. (These issues are discussed further in the Module on site selection and layout.)

We discuss event venues in detail in Module 6.

What?

What concept will best achieve the purpose or objective of the event? Deciding on the event concept will determine the program and content of the event, and ultimately the success of the event product in the market place. In determining the event concept, research through libraries, the Internet and observation of other events will help to start ideas fl owing.

A helpful group creativity technique is to engage in a creative “brainstorming session” (see Fig.1/2) with colleagues and stakeholders in the event. They should fi rst be briefed on the “parameters” - the limit or boundaries which defi ne the scope - of the event, and then they can be invited to let their collective imagination soar by devising a range of creative options for the event.

Fig.1/2. the brainstorming process

defi ne the parameters of the event

identify event stakeholders and colleagues

brief them on the parameters of the event

brainstorm a wide range of event ideas

evaluate and prioritise these ideas

identify the ideas that best serve the needs of the event

choose and refi ne an event concept

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The basic rule at this stage of the process is that there are no rules. Any idea, no matter how improbable, outlandish or impractical, should be raised and discussed openly.

As the initiator or organiser guides the process, people will often “spark off” one another, with one spontaneous idea leading to the next. Sometimes the group members will reach “dead ends”, and the idea will go no further; at other times an idea will resonate within the group, and lead to further exciting ideas.

Ultimately the group must be steered towards identifying and evaluating those ideas which best serve the needs of the particular event.

The fi nal choice will be developed and refi ned to become the event concept. Sometimes this might be resolved in a single session, or it might require several sessions over an extended period of time. However, it is often viewed as one of the most enjoyable and productive aspects of event creation, and often proves the old adage that “two heads are better than one”.

Feasibility of the Event

In this context ascertaining the “feasibility” of an event (that is, determining whether it is capable of being accomplished or brought about) involves making a detailed analysis and evaluation of the proposed event (or another type of project) to determine whether:-

It is technically feasible; that is, it is possible and practical to do easily or conveniently.

It is feasible within the estimated budget; that is, it can actually be staged given the estimated costs and within the fi nancial and other resources - the “budget” (see Module 4) available or allocated.

and

Will it be viable, and will achieve its objective (which might be fund raising, brand awareness, increased sales, profi t, or any other).

Having gone through the “fi ve Ws of event creation” processes, it is necessary to determine the feasibility of the event. Some key questions which need to be asked - and satisfactorily answered - include:-

What physical resources (facilities and equipment) are available or are accessible to support the event?

What are the rough, estimated, costs? (in terms of time, personnel, money)

How can any potential barriers to the successful running and delivery of the event be overcome?

Is there suffi cient time available for proper planning?

Should any of the answers ascertained be unfavourable, the event might have to be examined and re-thought out and amended, or perhaps even postponed or, in the worst case scenario, abandoned altogether. However, once it has been ascertained that the necessary resources are available, and it has been agreed that it is feasible to undertake the event, the next stage - planning - can begin.

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Adding the ‘WOW’ Factor to an Event

Great events are unique, and include that extra special “something” which distinguishes them and sets them apart from other events. In the event industry this is sometimes called the “WOW factor”, or the “unique selling proposition” (USP). This often attracts media attention, and helps the event to be remembered and admired.

The WOW factor can arise in several ways, such as from a distinctive or unusual feature of the environment or community in which the event is planned. Examples might include: a sculpture exhibition taking place along the cliff-tops between two towns or resorts; a military display or tattoo at a castle, or a march across a famous bridge to create a symbolic “bridge” between cultures.

The “WOW factor” might be a famous headline artist or star or a special guest, such as a visiting president or prime minister attending a conference; a technical innovation such as a youth festival conducted online on the Internet and/or through social media channels; a spectacle such as the making of the world’s largest omelette - or a tortoise or toad race! The only limit is the imagination and creativity of the event initiators and organisers - and the ability and availability of resources to deliver the concept.

Properly conceived and implemented, USPs have the potential to make an enormous contribution to the impact, profi le and success of an event.

Theming the Event

In this context a “theme” is a thread or an idea running through and recurring in or pervading an event, which has the effect of linking its different elements together in getting across its overall message to the target audience. Once the event concept has been decided, it should be developed into a “theme” which shapes and unifi es all aspects of the event. The theme will determine the overall look, style, colours, sounds and atmosphere which together go to make up the “event experience”.

The organisers of many larger events adopt a “colour scheme” which is repeated on all items produced for an event, such as tickets, programmes, uniforms, decor, posters and merchandise, all of which help “attendees” (participants, spectators, visitors, guests) to “identify” with the event.

The range of themes is limitless, and new ones “dreamt up” might depend on the imagination and creativity of initiators and organisers. Some examples of themes include historical, geographical, cultural, sporting, musical, entertainment, artistic, food and wine, cooking, objects (such as motor vehicles, boats, electronic devices, clothing and footwear, and many others).

Typical aspects of an event to which the theme might be applied include:-

PostersEntrancesBrochuresWebsitesStaging Print, radio, TV, Internet advertisements Sets and costumes Site decoration Compere (a person who introduces the performers or contestants in a variety show)Banners/signage, branding and logos Performers Other event elements such as: Staff uniforms Catering facilities

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A simple “check list” like that illustrated in Fig.1/3 can help to establish the appropriate elements which have the potential to be themed for a particular event, and those can be “ticked” in the relevant box. In the space alongside can be written some suggestions as to how that particular aspect or element might be themed for the event. The check list can be added to or otherwise amended to as and when necessary so that it is applicable to each specifi c event.

Fig.1/3. checklist for elements with the potential to be themed

Checklist for Theming

Name of Event: ______________________________________________________ Date(s): ____________________ Venue (if known): _______________________ Event elements suitable for theming:

Advertising

Transport

Entrance

Site decoration Programme Signage

Staging

Compere

Performers

Food/catering

Facilities

Crowd control

Staff uniforms

Programming

The successful theming of an event can create a memorable experience for the event audience, and contribute in no small measure to achieving the objectives of the event.

Having come up with ideas for a theme, it is necessary to consider the availability and costs of suitable venues, that is, places in which to hold or stage an event which will be consistent with the theme. As we discuss in Module Six, there might be a choice between fairly standard - or “traditional” - venues, and more unusual or different venues. The former might require only relatively inexpensive decoration to make it “match” with the chosen theme. In contrast, although more unusual venues can increase the “WOW factor”, the costs of providing suitable lighting, sound and catering might provide serious challenges, as well as increased - and even prohibitive - costs.

Program and Programme

In everyday usage the words “program” and “programme” are often used interchangeably, with “programme” commonly being the British English spelling of the word, and the spelling “program” being increasingly used because of its association with computer software - programs.

To avoid confusion, you should note that in these Modules we refer to the “event program” (or simply “program”) as being the offi cial and very detailed overall schedule of activities which are intended should take place step by step from the start of the particular event to its conclusion, and which will guide the activities of the event manager and his or her team.

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The program is therefore the central organising component of the event. For example:-

The program for a sporting event will govern which competitors participate or compete at what times and where.

The program for a conference will stipulate the times of lectures and workshops, what topics are offered, and who is presenting or speaking in each case.

The program for an annual awards dinner will set out what time people should arrive, what time each meal course will be served, and the time at which each award presentation will take place.

In contrast, we use the term “programme” to refer to a printed or computerised “document” which is issued (or sold) to participants, spectators or members of the audience or spectators of an event. Basically it is an abbreviated version or summary of the event program, containing relevant information, but not in such detail as in the event program. For example:-

The programme for a sporting event will state what game, match or heat will take place when and where, and might list the names of the participants, as individuals or as team members and, when appropriate, the positions which each plays (such as a forward or a defender or goalkeeper of a soccer team) and might also contain photographs of competitors and/or of the whole team.

The programme for a theatre stage play will list the names of the actors (the performers) and the role or part each one plays, and might divide the overall performance into acts or scenes, explaining in each case where the action on stage should be visualised as “taking place”. Photographs of the “leading” performers or “stars” might also be featured, with perhaps a group photograph of the entire “cast” (the group of actors).

Programming

What is called “programming” is the art of carefully selecting and arranging the various elements which go to make up an event so that they create the maximum impact on the audience. These elements will naturally vary according to the nature, scope and scale of the particular event. They might include music and dance performances, singing, comedy or acrobatic acts, street theatre, arts and crafts activities, games and displays, speeches, award ceremonies, or various others - of which there are legion.

In creating the program for a particular event, it is important for the organisers and arrangers to consider the “fl ow” of performances and activities, so that the interest of the audience is aroused and maintained.

In many cases it is important also to consider the “shape” of the event program - by this we mean the rise and fall of intensity and emotion which it evokes in the audience, and the build-up towards a “climax” - that is, the most exciting and important part of a story, play, or cinema fi lm or movie which occurs usually at or near the end of it. The traditional formats of the theatre can be a useful aid in programming, including such devices as the “transformation scene” of the pantomime, during which the setting is magically transformed in the fi nal scene.

The balloon and Chinese lantern releases and fi rework displays “fi nale” (that is, the last part of a piece of music, an entertainment, or a public event, especially when it is particularly dramatic or exciting) of many modem events are close “cousins” of the theatre tradition. Used creatively, the event program has the potential to take the audience on an “experiential journey”, and to connect with their emotions in order to create and maintain a memorable event experience.

Note: In this fi rst Module we have introduced you to a range of important principles in event creation, planning and management. We expand on many of them in the following Modules in the Program.

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SELF-ASSESSMENT TEST ONEYou will fi nd Recommended Answers to these Questions, with which you may compare your answers, in the Appendix which starts on the next page. The maximum mark which may be awarded for each Question appears in brackets at the end of the Question. Do NOT send your answers to these Questions to the College.

No.1. With examples, explain who the stakeholders of an event might be, and what distinguishes primary from secondary stakeholders. (maximum 30 marks)

No.2. Describe the various types of attractions, explaining in what ways they differ from events, and why - despite those differences - there is often a close relationship between attractions and events. (maximum 30 marks)

No.3. Explain the necessity to undertake “environmental scanning” at an early stage in the creation of an event, and describe important factors which might need to be analysed and considered before making important decisions in relation to the proposed event. (maximum 30 marks)

No.4. Place a tick in the box against the one correct statement in each set.

(a) The “fi ve Ws of event creation” are: 1 whether, when, where, whilst and for whom. 2 weather, why, which venue, worthwhile and whenever. 3 what, weekday or weekend, where, workers and why. 4 why, who, when, where and what.

(b) A positive event stakeholder: 1 has enjoyed it and encourages the organisers to stage it again in the future. 2 might be unfavourably affected by it and might try to delay it or prevent it occurring. 3 sees a desirable outcome and/or might benefi t from its occurrence and success. 4 can infl uence peoples’ opinions favourably or unfavourably towards the event.

(c) Sponsors of an event: 1 support an event fi nancially or in other ways without expecting anything in return. 2 support an event fi nancially or in other ways in the expectation of receiving publicity

or some other positive return. 3 provide services for an event, such as catering, cleaning, waste disposal and

security. 4 are groups of people who have specifi c interests and who will support an event

if it furthers their interests.

(d) Brainstorming is:1 stress related, arising from the hectic and noisy event environment.

2 a method used to promote an event by repeated radio and TV advertising. 3 a technique used to compare the features of potential venues for an event before

deciding on the most suitable one. 4 a group creativity technique for gathering spontaneous ideas from its members.

(e) In the event industry the “WOW factor” refers to: 1 something extra special which promotes or attracts greater attention to an event. 2 the likely cost of staging an event and its feasibility in view of the resources

available. 3 the necessity for the organisers to decide whether to stage an event during a

week day or over a weekend. 4 the economic conditions in the country which might determine whether suffi cient

numbers of people could afford to participate or attend an event.

(2 marks for a statement correctly ticked - maximum 10 marks)

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RECOMMENDED ANSWERS TO SELF-ASSESSMENT TEST ONE

TEST ONE

No.1. The stakeholders for an event might be individual people, a group of people or an organization who or which have an interest or concern in that particular event; they can affect or be affected - favourably or unfavourably - by the staging or the activities of the event. Events rely on a range of stakeholders (or partners) for design and delivery, and therefore it is important at the outset to identify who the key stakeholders are for a particular event. They might be a mixture of one or more of: clients, participants, spectators, performers, venue owners, volunteers, local businesses, the local council, local police, area ambulance service, the local community, a funding body, sponsors, the media, and/or others.

Once stakeholders for an event have been identifi ed, their interest and involvement in the event and their specifi c needs should be assessed to determine how those needs can be met or fears allayed through the design and delivery of the event. For example, local businesses might need to be assured that their trade will not be adversely affected by the event - therefore, where possible the participant and spectator activities related to the event should not prevent others from using local amenities, or cause excessive noise, dust, traffi c congestion, etc. A group such as sponsors will seek positive media coverage and an enhanced community image, and therefore the event should include newsworthy aspects which also take into account the local community’s needs.

Primary stakeholders are those persons or groups or organizations who or which are essential for the viability and success of an event; that is because without them and their “direct” support the event could not come about, or be staged successfully. Primary event stakeholders can and do vary from event to event, but they can include: employees, clients, volunteers, sponsors, suppliers and support services. In addition, spectators, attendees, and participants are also commonly considered to be primary stakeholders because the event would not be viable without their support.

Other people and groups and organizations might also be important for the success and survival of the event, but they might not have the same direct impact on the event as do the primary stakeholders; and they are referred to as being secondary stakeholders. They might include: the host community, local and/or central government agencies; emergency services; businesses in the area; and tourist offi ces. In addition, media organizations whichsupport or promote the event might also be categorised as being secondary stakeholders; although if they are sponsoring the event they will be primary stakeholders. support or promote the event might also be categorised as being secondary stakeholders; although if they are sponsoring the event they will be primary stakeholders.

No.2. Basically an “attraction” is anything which appeals to peoples’ senses, such as sight and hearing, taste or touch; it creates and arouses interest in people and creates a desire to see, or to hear or to participate. Those people might be residents of an area, or visitors or tourists to that location, and an attraction motivates people to visit a particular location or venue, which might be a natural feature or a building or an arena or a stadium; or to take a holiday or vacation in that particular destination.

Some attractions are “natural” phenomenon and features, such as mountains, volcanos, rivers, waterfalls, canals, lakes, deserts, glaciers, canyons, rolling countryside, beaches, game reserves, fjords, and others. Certain climatic conditions of areas or regions are also often natural attractions, such as sun, sea and sand; clear blue skies; clean/fresh air. There are also many “man-made” attractions, such as historic or religious sites and buildings, bridges, towers and other constructions, and those of architectural interest; antiquities;

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museums, libraries, art galleries, marinas, theme parks, fairgrounds and entertainment centres, wildlife parks and zoos and marine centres, and many others.

In some cases a particular location appeals to and attracts people; what are termed site attractions might be countries or areas of countries or groups of countries, or geographical regions, islands, or cities or holiday/vacation resorts. In contrast, particular events such as conferences, sporting fi xtures, concerts, carnivals, festivals or religious ceremonies might attract people to visit a particular location at a particular time. Such events might attract people to visit the location because of what is taking place there at the time they propose to visit - or they might time their visits to coincide with the particular event being held.

There is often a signifi cant relationship between attractions and events. That is because events often have greater and added appeal if they are held in locations which also have site attractions; for example, a yacht race held in a beautiful natural bay, or in a spectacular man-made marina.

However, despite their sometimes close relationship, there are important differences between events and the attractions in or around which they take place. That applies in particular between permanent attractions such as historic venues, and events - which by defi nition are temporary - which might be held within or nearby those attractions. For example, a museum is likely to have permanent or long-term displays or exhibits open to the public. But from time to time special exhibits might be staged - for example, of archaeological artefacts from another country - for short periods, which are events in their own right although they might attract visitors to the museum and its other permanent exhibits.

No.3. Environmental scanning is the process of gathering and analysing information about the prevailing and future conditions or circumstances in which an event might be staged. In many situations such scanning needs to be done at an early stage because the data gained might infl uence decisions made about holding the event or about certain aspects of it. If it is found that circumstances are not favourable, the decision might be reached not to hold the event at all, or to scale it down, or to hold it in a different location or at a different time, or to modify it in some other way.

For example, if the political situation in a country is unstable or if an election is imminent, it might be problematic to hold an event in the country until the instability is resolved or it might be wise to delay the event until the election has been completed. Similarly, the prevailing economic situation might have a bearing; if the economy is weak, people might be unable to afford to travel to attend the event, or be unable to afford the entry or ticket charge. On the other hand, if suffi cient people have money to spare, the event could achieve its objectives, which might include fundraising and/or profi t making.

Peoples’ attitudes, likes and dislikes vary from time to time, and what might be popular at one time might be less so at another time. The data scanning process might indicate trends or themes which are likely to appeal to suffi cient numbers of people to make an event a success, or to avoid making costly mistakes by staging events which will not be popular.

The data might also help to determine who the most likely “customers” - participants, spectators, attendees - are likely to be, and how to reach or “target” them by advertising or other means, and the time of the year, and possibly days of the week or timings which would best suit them or enable them to become part of the event in one way or another.

In summary, an analysis of the data gathered will help event initiators, planners and organisers to determine why an event should be held and what its objectives should be; who it will be held for; when is the best time to hold it; which is the best location or venue in which to stage it; and what its concept should best be in order to achieve its objectives.

No.4. The correct statement from each of the sets selected and ticked:

(a) 4 (b) 3 (c) 2 (d) 4 (e) 1

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WHAT YOU WILL LEARN ABOUTEVENTS MANAGEMENT

IN MODULES 2 TO 12 OF CIC’s TRAINING PROGRAM

Module Two - Event Personnel

The event manager or leader: defi nition of management defi nition of a manager range of duties and responsibilities skills, abilities and expertise needed The activity of management: defi nition of a leader functions of management: planning organising co-ordinating commanding controlling The event team: composition and diversity stages in group formation: forming, storming, norming, performing Short-term event teams: special problems presented casual and temporary workers using volunteers and students lack of commitment fi nding the most suitable tasks, making work “fun” Diversity of event teams: range of skills, talents and abilities group norms and cohesion creative teams and brainstorming Briefi ngs and de-briefi ngs Need for contingency plans Unspoken communication or body language Improving communication skills: clarity and conciseness confi dence, empathy, respect, feedback The creative team: duties and responsibilities of: the artistic director designer music director performance co-ordinator technical director production manager Other services and personnel Decision making: stages in the decision-making process Time management: its importance in event management what should be achieved tips for improving time management

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Module Three - Event Planning

The event concept and purpose: examples of how and from what ideas arise Identifying opportunities factors to be considered events leaving a legacy The vision and the mission statement: why they should be put down in writing practical example Event strategy: how an event’s goals will be achieved Setting SMART goals or objectives: specifi c, measurable, achievable, relevant, time-based variety of bases for setting objectives SWOT analysis: considering strengths, weaknesses, opportunities and threats factors to be taken into account practical example Lead time: reasons why it must be taken into account contingency periods Event dates: some factors to consider: nature of the event, weather, target audience, clash diaries, complementary activities, competition, resources Shoulder periods The venue: event history, venue history and reputation, location, budget, conditions of contract, audience, timing, services and resources, transport and parking, infrastructure and layout, restrictions, reinstatement The event action plan: detailing key event project stages or milestones major activities detailed in an action plan The event business plan: communicating the strategic plan for taking the event forward association with and difference from the action plan benefi ts of preparing a business plan key areas to be addressed in the business plan suggested sequence for a documented event business plan: front cover and contents introductory summary background and history overview of the current year or period the development plan: going forward event requirements marketing and communication plans fi nancial plan and considerations management and business controls risk management the presentation Reviews of the business plan

Module Four - Event Budgets and Financial Planning

The event budget as a forecast and projection Income and out-goings Importance of fi nancial control: dangers of the lack of control

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Manual and computerised (spreadsheet) budget preparation: the need for fl exibility and amendments Some do’s and don’ts of budget development The need for transparency Sources of event income: public grants sponsorship merchandise sales concessions, franchises and licences entry or participation fees stand or area rental charges raffl es, sweepstakes, competitions and games ticket sales - spectator entrance charges advertising in-kind sponsorship and donations Typical event expenditure, including: travel & accommodation, trophies & awards postage & telephone, stationery & printing, medical fees, venue hire/rental, insurance, promotion, equipment hire, transport Example of a live event budget

Financial Accounting & Management Control

Importance of fi nancial data and statements The need for careful monitoring and recording of fi nancial data Recording transactions - bookkeeping: manual recording, books of account computerised accounting software packages the dual aspects of a transaction: receiving and giving cash transactions and credit transactions assets and liabilities Cost-oriented and income-oriented events: break-even Budgetary control Profi t or surplus Financial control before, during and after an event Event goals and fi nances: feasibility studies Appointment of a fi nancial controller: duties and responsibilities obtaining quotations in writing: avoiding guesswork and assumptions Major areas needing fi nancial control: income - receipts of money: security for cash receipts by cheque, credit/debit cards, direct debits payments - expenditure: authority to make payments petty cash; the fl oat and imprest Purchase orders Sales invoices Final Accounts: receipts & payments accounts: events and organizations for which they are prepared specimen income & expenditure accounts events and organizations for which they are prepared profi t & loss accounts: events and organizations for which they are prepared balance sheets

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Module Five - Corporate Sponsorship

What sponsorship involves Reasons for the increase in sponsorship opportunities Benefi ts for sponsors: advertising targeting communicating corporate values business to business (B2B) connections corporate hospitality stakeholder benefi ts Factors to consider in deciding whether to seek sponsorship Finding sponsors for events identifying potential sponsors - profi ling compatibility of products with an event’s audience: practical examples major sponsors and sponsors for sub-events Components of sponsorship packages: title or name sponsorship exclusivity brand exposure and branding media exposure advertising merchandising rights sampling opportunities discounted tickets and merchandise prices long-term relationship hospitality opportunities product creation literature distribution Specimens of sponsorship packages and opportunities Setting the value of sponsorship: getting the “balance” right between too high and too low Costs associated with delivery of packages to sponsors Approaching prospective sponsors: the sponsorship plan what each sponsor might seek proposal to sponsor: tailoring to each potential sponsor The sponsorship proposal document: what it should contain: keeping it brief and to the point presentation, the need to attract the eyes of readers the cover or front page brief overview audience profi le and attendance levels benefi t/packages available to sponsors prices of packages Answering questions from potential sponsors: number of attendees expected attendee demographic breakdown other sponsors types and prices of sponsorship packages return on investment expected Sponsorship agreements or contracts: why they are needed typical issues covered specimen of a sponsorship agreement On-going relations with sponsors Branding plans Post-event reports

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Module Six - Event Venues

Increase in variety of venues available Crucial importance of the correct venue selection Assessment of the logistics involved Event dates and venue availability Basic considerations: indoor or outdoor audience capacity how long venue will be needed need for public transport access Selecting a location: target audience or guest list budget available Factors in venue selection Sources of venue information Facets of suitability: dimensions, environment, facilities, location/position, cost Site visits Agreeing prices and terms: what is and what is not included in the hire/rental charge negotiating with venue managements ascertaining any restrictions who pays for insurance, security, etc Specimen of venue hire/rental agreement relating to restrictions on the use of the venue Booking and confi rmation: checking the draft agreement/contract Follow-up site visits Non-traditional venues: architectural spaces experiential venues moving venues Factors to consider in using non-traditional venues: food and drinks, lack of furniture, tableware, etc lack of security

Food and Beverages at Events

Outsourcing food and beverage supplies Hotels and restaurants: types of catering which might be offered: canapés, full meals, buffets, carveries, BBQs waiter service and self-service Venues without facilities for food and beverages: employing outside caterers Outsourcing to independent businesses at venues: fi nding suitable/reputable concessionaires controlling concessionaires trading licences needed health & safety considerations site fees or percentage of takings Ordering supplies and arranging services: obtaining quotations the tendering process purchase orders

Module Seven - The Event Program and Schedule

The schedule as a timetable: chronological order Developing the program schedule:

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factors to be considered, checklist typical component parts: main or core entertainment/focus secondary entertainment/focus support entertainment/activities ancillary activities practical examples of events Timing program activities: special features to consider consulting other parties involved: competitors, sponsors, exhibitors multiple performances concurrent activities timing and sequencing of activities time intervals, commercial breaks Event ceremonies: opening, welcome, closing speeches award/medal presentations contingency planning in case: dignitaries are late or fail to turn up crowds are dispersed dignitaries arrive at busy or slack times Using Gantt charts as graphical illustrations to: plan, co-ordinate and track specifi c tasks manual and computerised versions identifying tasks which: can be executed in parallel must be executed in sequence Event programmes for distribution to patrons printed versions, typical contents entry forms for competitive activities production and format: single sheets, pamphlets and booklets in-house or professional reproduction methods of distribution advertising: helping to offset production costs setting prices sponsors’ advertisements, local business advertising

Module Eight - Legal Issues

Responsibilities under the law Liabilities: legal responsibility for acts or omissions Organisational structure and legal status: unincorporated bodies: committees of clubs, associations, charities, etc sole owner businesses: formation and registration simplicity of management business partnership fi rms: reasons for their formation partnership agreements: duties and responsibilities of partners limited companies: shareholders or stockholders meaning of limited liability incorporation and registration parent companies: separating event income and expenditure

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Insurance for Events

Defi nition of an accident Risks, hazards and consequences Circumstances in which insurance cover is needed Types of insurance cover for events: general public liability employers liability event equipment and property cancellation or abandonment of an event third-party damage Arranging events insurance: directly with insurers through insurance brokers information which might need to be provided the policy: sum insured, subject matter, exclusions Insurance and the law: insurable interest utmost good faith indemnity: types of compensation Insurance claims charitable status: fundraising activities donations and corporate philanthropy taxation and other advantages Sanctioning: permission from a legal or governing body lump sum fee or capitation fee Copyright: moral or legal entitlement to have or do something literary and artistic rights assigning of rights illegal use, copying and plagiarism Contracts and agreements: legal enforceability unrevoked offer and unconditional acceptance acceptance of legality consideration from both/all parties terms and conditions An event’s own contracts: drawing up, wording and contents terms and conditions contracts with franchisees, performers, contractors general guidelines for event organisers and managers Quotations for: supply of goods and/or services hire of equipment, furniture, marquees, etc Purchase orders Licences and permits: common reasons why they might be required: public entertainment trading/market trading sale of liquor/alcoholic beverages gambling - raffl es and games of chance Performing rights: royalty payments to copyright holders Performing Rights Society Disability issues: complying with the law on access and facilities

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Module Nine - Event Logistics and Production

Assessment of resources needed: production equipment, facilities, services, personnel, time allocating suffi cient time for production Logistics in events: ensuring the fl ow of resources into and out of a venue Factors in site or venue design: anticipated size and demographics of audience indoor or outdoor, seated or standing access and infrastructure requirements Checklist for physical production resources Checklist for facilities and services Factors in site or venue layout: capacity, features which might decrease it Access, egress and fl ow for vehicles and pedestrians: dangers to avoid, pinch points, disabled access vehicle/pedestrian intersections access for emergency vehicles adequate space around concessions and WCs Sterile areas Ground conditions and site topography: features to consider assessment of weather conditions, contingency plans Existing site features: hills, gullies, trees, overhead cables Safe placement of equipment and services Sanitary facilities for men and women, disabled people hand washing facilities Checklist for site or venue considerations Local residents; domestic and business: advance meetings, keeping them in the picture avoiding nuisances which can lose their goodwill; congestion, noise, litter Need for clear signage: directional, information, safety and warnings, emergency, welfare, environmental appropriate dimensions, design and placement sponsors’ signage or banners licences or permits for signage display Checklist of facilities for the disabled and special needs groups Litter and waste management: checklist of matters to be considered Site or venue plan or map: why and by whom it is needed features and facilities to be included developing the master plan Communications: a key logistical concern mobile/cellphones, 2-way radio transmitters, runners evolving a communications plan printed materials, screen messages public address announcements emergency situations

Module Ten - Event Health and Safety

Categories of people to be protected: persons employed by or working for or at the event: full-time, part-time, trainees, volunteers statutory legislation and legal liabilities persons participating in an event:

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attendees, spectators, visitors, guests duty of care persons who might be affected by: excessive noise, vibration, congestion, noxious smells, air pollution, and other forms of nuisance Responsibilities of the event organisers or managers: health and safety arrangements to control risks Risk assessment: identifying and reducing hazards and risks taking all reasonable measures to control risks appropriate management systems for each phase of an event co-ordination of workers and work activities on site/venue temporary demountable structures (TDS): safe erection, siting and use, inspections Crowd management: event organisers’ or manager’s overall responsibility typical hazards presented by a crowd variety of hazards presented by the site/venue Barriers and fencing: typical purposes served at events: perimeter, queuing, infl uencing crowd behaviour preventing overcrowding and surging, providing physical security, shielding hazards from people considerations in using and placing barriers Planning for incidents and emergencies: taking account of key risks, contingency planning consultation with local emergency services incident report forms The emergency plan basic matters to be covered: getting people away from the immediate danger summoning emergency services handling casualties Emergency procedures: raising the alarm, informing the audience onsite emergency response, fi rst aid and medical assistance crowd management evacuation of people with disabilities or mobility diffi culties Evacuation: planned escape routes, signage and lighting ensuring exits are clear and available Show stop: rapid and controlled halt to activities preventing risks to the audience, initiating evacuation liaison with key people involved show stop procedures and announcements Transport on site: reasons for movements into, through and out of the site/venue keeping people and vehicles apart adequate access and exit points, ring system Electricity: major risks posed on site/venue steps to be taken to reduce risks Health and safety signage: warning, prohibition and instructional signs Customer logistics Importance of transport links to and from an event: transportation logistics for events in rural settings Ticketing: distribution, collection and security concerns revenue from advance ticket sales

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electronic and mobile issue of tickets, SMS text ticketing Queuing and queue management: presentation of entry tickets on arrival physical queuing: queue capacity, entertainment, signage fast track queuing, premium payment virtual queuing via mobile/cellphones Exit strategies: staggering exit times, hospitality quests planning exits from events held in remote locations

Module Eleven - Event Marketing and Promotion

Creating public awareness of an event Different media Market research: how best to promote an event Devising a marketing strategy: taking account of unique challenges Situational analysis: ascertaining the data on which to base strategy Formulating marketing strategy, considering: budgetary constraints time constraints personnel constraints Identifying target markets: the most likely target markets where the target audiences are or will come from Building the audience database: market analysis market segments and demographics comparisons with competitive events Setting SMART marketing objectives: specifi c, measurable, achievable, realistic, timely practical example Developing the marketing strategy: positioning and characteristics The marketing mix: product, price, place, promotion - and people Determining what an event offers Cost of attending Making attendance easy and convenient Promotional campaigns: getting the right message to the right people Marketing tools: printed materials, media advertising, the Internet What makes an event newsworthy Sponsors and promotion Forms of paid advertising online Using social media; encouraging “sharing” Viral marketing Audience research Post event evaluation and reporting: meetings and de-brief reporting, checklist Planning for the next event

Module Twelve - Building Event Businesses

Entering the events industry: fi nding a niche whether to be a generalist or a specialist preference for working with social, corporate or non-profi t clients preference for small or medium size events

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Professional planning and organisation of: weddings ceremonies and receptions advice on venue, clothing, fl owers, photography, catering birthday parties: venue, themes, decor, entertainment, catering wedding anniversary celebrations: venue, catering, renewal of wedding vows, fl owers, decor, music family events: engagement, going way, coming home parties, etc types and sizes of meetings: briefi ngs, conferences, conventions, congresses, seminars organiser’s duties before, during and after meetings Seating arrangements: descriptions and illustrations of 10 popular layouts The business venture: characteristics of entrepreneurs reasons for venturing into business business units: sole owner, partnerships, companies: advantages and possible disadvantages or each The business plan: matters to be covered What business capital is and why it is necessary Possible benefi ts of working from home, disadvantages Securing clients via: family and friends, emails, texts, phone calls using social media designing and building a website, blogs Importance of referrals from satisfi ed clients Building a network of contacts Developing goodwill Building relationships with clients Event organising and planning fee structures: fl at rate, percentage of expenses, hourly rate Accounting records Event business insurance cover and policies

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ASSOCIATED PROGRAMS YOU MIGHT LIKE TO STUDY NEXTDiploma in Hotel Operations & Management

This Program trains men and women to be professionals who are knowledgeable in the operations and management of hotels. Every hotel has departments performing different functions which need co-ordination to ensure guest satisfaction. Hotels of many sizes, standards and types exist, catering for differing demands of guests, but all are businesses providing core services and their prosperity and profi tability requires managers with the understanding, skill and ability to ensure staff are effi cient, that guest needs are met, and that quality services are provided.

Major Topics Covered in this Diploma Program include:

Hotels as businesses: functions, types, locations, sizes, standards, amenities; types of guests, planning services, organisation and management structures. Rating, categories.

Hotel products: accommodation, food, beverages; tangible and intangible features, services. Marketing, promotion, methods of selling hotel products, brochures, the internet, websites.

Hotel front offi ces: duties of receptionists, reservations, check-in, check-out, guest relations, guest billing, cashiering, complaints; product knowledge, staff attributes. Uniform staff. Guest expectations, amenities, attractions, security, functions and events, guest reviews.

Hotel bedrooms, types of room, occupancy, supplements, doors and windows, furniture, fi xtures, decor, en suite facilities. Housekeeping department: staff training, supervision and motivation, work rotas, room inspections, servicing, room status, linen, security.

Hotel catering: purchasing, storing, issuing foodstuffs, security, hygiene, food preparation. Kitchens, restaurants, ambience, layout, menus, types of service, restaurant staff, control. Hotel beverages, bar sales, restaurants, room service, minibars, additional guest services.

Financial accounts and statements, hotel computer systems, ownership, profi tability, starting or taking over a hotel. Recruitment of hotel staff, training, motivating, supervising and controlling. Staff development, welfare, relations, organisation and communication.

Diploma on Tourism & Travel ManagementTourism is important to countries worldwide; “tourism income” contributes to their economic development. For economies and peoples to benefi t fully, tourism development must be planned, controlled and be sustainable; and local culture, environment, fl ora, fauna, attractions protected. A country’s infrastructure and superstructure need planned improvements for access by road, rail, air or water. Destinations must be marketed to prospective travellers by state bodies, tour operators and travel retailers. This Program deals all those topics and more.

Major Topics Covered in this Diploma Program include:

Motivations for travel, the tourism industry: structure, organisation, products, services; national & international importance of tourism, infrastructure, effects on balance of trade.

Economic and social consequences of tourism: income from tourism, the income multiplier, planning for tourism development. State involvement, safety and security of tourists.

Measurement of tourism: why it is necessary, factors which infl uence demand; uses of tourism statistics for arrivals, expenditure, tourist behavioural patterns, market intelligence.

Tourism markets: leisure and activity, business travel, VFR, cultural, educational, health, common interest travel; destinations, access, locations, attractions, sustainability.

Passenger carriers: transport by air, rail, road, sea, inland waterways. The hospitality industry, hotels & accommodation units, restaurants, other eating places, entertainment, activities, catering. Reservations systems, itineraries, fares. Travel insurance.

Tour operators, types and standards of accommodation; economics of tour operation. Components of package tours (IT), optional extras. Environmental protection.

Public and private tourism marketing. Advertising, brochures, displays, websites: marketing and design. Promotional campaigns, objectives, targeting, competition, communication.

Events Management also gains an exemption towards the Baccalaureate and EBA. ASK THE COLLEGE FOR MORE INFORMATION ABOUT (AND THE FEES FOR)

THESE PROGRAMS, OR VISIT WEBSITE www.cambridgecollege.co.uk

cambridge international college€˜event management: strategy & planning” by lyn van der...

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