ie: the business of international events - Spring 2013 by International Festivals & Events Association

the business of international events

The Sponsor Doc The Doctor Is In Procrastinate Later Implementing Security Plans at Your Festival

Some Ideas Rise Above the Rest FTS Prepaid Card Cash Management Services FTS (Festival Transaction Services) lowers costs, offers new revenue opportunities and reduces risk for fairs, festivals and events. With partners Visa and BAMS (Bank America Merchant Services), FTS introduces the first and only national credit, debit and prepaid card processing platform exclusively for community events. Increase your revenue. With prepaid cards as tickets or ticket companions, your visitors have more fun, greater convenience, and buy more than using cash. Prepaid cards offer new sponsor ideas, too. Ask us. Cut costs. FTS processing rates are competitive and “flat”: no increases for

online, affinity or loyalty cards; no signup, statement or termination fees. FTS devices are free to you and your vendors. Reduce risk. FTS monitors sales every 5 minutes by transaction device; “auto-Magically” deposits sales commissions into your event’s account and net sales into your vendors’ accounts. Free your event from cash. FTS captures all sales and settles automatically. No more tokens; no more tickets. No cash sitting on site all weekend. Check out FTS. Go to www.festbiz.com, our new site exclusively for FTS. See our launch video. Sign up for a free webinar. You’ll be glad you did.

Festival Transaction Services • 2033 Sixth Avenue, Ste 810 • Seattle, WA 98121 +1-206-381-5202• jshanklin@festivals.com

CREATE YOUR POINT!

INTRODUCING POINTSMAP ® FOR YOUR EVENT! You may have already discovered the IFEA’s PointsMap - a dedicated map showing you festivals, events, vendors, suppliers, event planners, universities, parks & recreation and more – all over the world. But did you know you can create a PointsMap – specifically for your Event?

It can take you to the streets of your city and show where the food vendors are during your festival and what’s being served – where the entertainment stages are and who’s playing on them – where the merchandise booths are and what’s for sale!

Similar to IFEA’s PointsMap where it lists all the details for IFEA Members – your very own PointsMap has the potential to list anything and everything about Your Event, Your City, Your Organization, Your Venue…Your Whatever!

Not only this, but it can all be accessed through smart phones in “real-time” during your event! You can create and modify as many points as you want on your own PointsMap and even use a custom map of your event in addition to Google maps! Don’t Delay Any Longer – Create Your Own PointsMap for Your Event Today! Learn more about PointsMap here. IFEA MEMBER DISCOUNTS PointsMap is excited to bring this valuable resource to the Festivals & Events industry and in doing so has not only partnered with the IFEA to bring us our very own IFEA PointsMap, but they would also like to provide special discounted packages when creating your own PointsMap for your event.

the business of international events

F E ATU R E S

The Sponsor Doc The Doctor Is In Procrastinate Later Implementing Security Plans at Your Festival

On the Cover: Kenyan basket weaving being demonstrated at the Smithsonian Folklife Festival, Washington D.C.

DEPARTMENTS 6 President’s Letter 10 IFEA Products & Services 12 People 14 In the Board Room 16 The Sponsor Doc 18 The A to Zambelli of Fireworks Displays 20 The Un-comfort Zone 22 English 101 24 Turnstiles: Marketing for Event Managers 43 IFEA Pinnacle Awards 2013 Call for Entries 62 IFEA Volunteer of the Year 2013 Call for Entries 64 IFEA Hall of Fame 2013 Call for Entries 65 IFEA World Festival & Event City Award Program 76 IFEA Webinar Series 2013 82 Board Table 84 Foundation 86 Marketplace Spring 2013 Volume 24, Issue 1 “ie” is published quarterly by the International Festivals & Events Association, 2603 W. Eastover Terrace, Boise, ID 83706, USA. Permission to quote from material herein is granted provided proper credit is given to IFEA. Subscriptions are available for $50 per year.

A Festival, a Forklift… and Poop by Matthew Gibson

Here I Go Again. Volunteer Motivation by Florence May & Kathryn May

Adding a New Dimension to Your Festival by Heather Pingry

Implementing Security Plans at your Festival by Mary Margaret Satterfield

34 36 38

Smart Phones—How to Make them Smarter at Your Event by Greg Flakus Procrastinate Later! by Gail Lowney Alofsin Expanding Demographics: How to Attract Members of Visible Minorities by Amer Meknas

Simple. Social. Scalable. Integrated social ticketing platform sells more tickets, saves time, and saves money.

We take care of the technology. You take care of the fans.

PRESIDENT’S LETTER

What’s Your Story? I’m often fascinated by how my own thought processes seem to come together. For no apparent reason a thought, or commonality of thoughts, will slowly start to emerge from multiple sources around me – perhaps from a conversation; maybe a media story; an event I attend. It could be anything, really, until they all cause me to center on a given train of thought – a story – that I can share with all of you. I have been noticing lately many references to the power of stories. At the Academy Awards, more than one recipient noted in their acceptance speeches that the secret behind a successful movie is how well you tell your story. In the movie Argo, the lives and freedom of the U.S. diplomats held in Iran were dependent on how well they told their carefully-crafted stories. The media regularly makes reference to “a story you won’t quickly forget” and we have all heard the old adage, “a story for the ages.” My son was exploring the world of Disney Imagineering and I noticed their emphasis that they always “start with a story.” Whether they are crafting a new ride; a theme park; a movie; a book; they always start with a story to be told and use their medium to take their target audiences logically through that story. If there is a point to be made; a lesson to be taught; or an action to be influenced; it all starts with a story. Further and scientifically underlining this ‘power of the story,’ a good friend and Master Storyteller – Kendall Haven (www.KendallHaven.com) – former rocket scientist (really) turned professional ‘story-engineer,’ recently sent me an email telling me about his latest project. The advanced science research arm of the U.S. Department of Defense (DARPA) is doing a multi-year “Narrative Networks” research project with the belief that telling the right story might save both bullets and lives. The study is based upon understanding how stories spread and amplify influence. Kendall explains it further as follows: “A company commander in Afghanistan might use a story format to communicate to a village elder, and

to understand the stories that come from the elders. It will help them tell if they are effectively communicating with the local population or not.” Analysts can evaluate stories that are circulating in a local population through social media, lectures and religious leaders. By observing the way their stories are structured, analysts may also be able to determine, years in advance, whether a population is becoming radicalized and to possibly intervene with stories of their own, told the right way, in order to prevent an escalating crisis. Stories, like festivals and events, have been used throughout history to bring people together around the world. All of us use them every day to communicate with friends, family and business associates. How many times have you started a meeting or a telephone call with a story to get everyone focused or to set the tone? As Kendall has taught me, and I watch as many others allaround me clearly practice as well, applying the ‘science of story’ is the key to the art of effective communication for anyone who needs to inform, inspire, or educate. That noted, I would guess that most of us do not spend the amount of time that we should on crafting or presenting ‘our story’ – personal or organizational. You don’t have to be an Oscar-nominated film director or a Disney Imagineer to use the power of the story. Gather your staff, board and key volunteers together and determine/ outline your most important storylines. What is the story of your festival or event that you want to convey to your attendees; sponsors; city officials; media; or volunteers? You can have as many pathways and endings as you like, depending upon your audience(s). For city officials you may want to craft a story of a community working

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together; of an important community business that brings powerful economic impact to the city; a story where your event is the hero. To sponsors you will want to craft a story that places them at the heart of an event where the hero (their company) brings positive benefits to the community; is seen in a positive light by all those attending; receives accolades from important city officials and other business partners; provides quality-of-life and volunteer involvement opportunities to their employees; increases sales of products and services to attendees; and everyone lives happily-ever-after. For attendees, your story will center around the experience that you want them to have at/with your event… from beginning to end…and all of the elements that will make that story come true. It may be a different story for young children, for adults, for those with disabilities, et al. And your personal story – vs. organizational – is every bit as important as any crafted for your event. Anyway, you get the idea. If you can craft your stories and create a ‘storyboard’ for each of your critical audiences, then you can use that story as a blueprint to effectively sell your event; build your event; and market your event. Every proposal, every power-point, every presentation should begin with a story, with a logical beginning, middle and end. Each story will determine whether you leave them with a warm memory, a call-to-action, or something in-between. Whatever it is, you should carefully craft your story to resonate with the personal brand, qualities and image that you want your hero to have. So, what’s your story?

30TH ANNUAL SPONSORSHIP CONFERENCE APRIL 14 – 17, 2013, CHICAGO

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Join 1,200 marketers from around the globe April 14-17, 2013 in Chicago What differentiates IEG from every other industry conference:

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Your Event Has

IMPACT…

SHOW IT!

Commission Your IFEA Economic Impact Study Today

In uncertain times, we must often remind those whose support we depend upon, of the important economic and social value that our festivals and events bring to the communities we serve. Having a credible and current economic impact study can do just this, in addition to increasing credibility with stakeholders, providing quantified data to sponsors, presenting reliable data to base future marketing and programming decisions upon and much, much more. Unfortunately, this critical resource, especially with credible credentials, is often financially out of reach for most events even in a good economic environment. Recognizing this, the IFEA has created a cost effective, industry credible program to provide Economic Impact Studies at a budget-accessible investment. Call us today to learn more.

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

Penny Reeh, CFEE • 830-456-3829 • penny@ktc.com

helping you protect those whose leadership you depend on… …for the best price in the industry.

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P.O. Box 17225 • San Antonio, Texas 78217 210-829-7634 • Fax: 210-829-7636 • Web: www.kaliff.com

2603 W Eastover Terrace • Boise, Idaho 83706 208-433-0950 • Fax: 208-433-9812

Take Advantage of IFEA’s

Professional Products and Services

In response to the current changing industry marketplace, the IFEA has created a menu of cost-effective new programs and resources that can help your event or organization succeed even in turbulent times. With IFEA as your partner you can rest-assured that you have a recognized and credible partner who uniquely understands your challenges, needs and your budget! Best of all, as the global leader in our industry, the IFEA has unique access to the top professionals in our field, who make up our team based upon the specific needs of each project. Take a moment to consider how you could maximize your return by using the following IFEA professional products and services: DOES YOUR EVENT’S ONLINE PRESENCE NEED AN EXTRA BOOST FOR 2013? Let the IFEA Take a Look with our New Online Marketing Audit Program If you are like most events/organizations, your on-line marketing presence and visibility is really just a summation of non-related, often outdated, components and links and access to miscellaneous tools/ toys with no real ‘plan’ to it at all. You may not even be sure anymore just what you have or what it should do, let alone having a plan for strengthening / upgrading it. If this sounds like you, it’s probably time for an online tune-up. Working with the experienced professionals from Edgeworks Group, IFEA is

“The Sponsor Summit was a great way for us to introduce our entire line-up of festivals to our sponsors and help them gain ideas on how to get a bigger bang for the buck. As a result, a sponsor of one of our events decided to also sponsor another event we produce, expanding a mutually beneficial partnership.” Kyle Conway Director of Partnership Grapevine Convention & Visitors Bureau

pleased to offer our new “IFEA Online Marketing Audit.” ECONOMIC IMPACT STUDIES In uncertain times, we must often remind those whose support we depend upon, of the important economic and social value that our festivals and events bring to the communities we serve. Having a credible and current economic impact study can do just this, in addition to increasing credibility with stakeholders, providing quantified data to sponsors, presenting reliable data to base future marketing and programming decisions and much, much more. Unfortunately, this critical resource, especially with credible credentials, is often financially out of reach for most events even in a good economic environment. Recognizing this, the IFEA has created a cost effective, industry credible program to provide Economic Impact Studies at a budget-accessible investment. Easy, Complete and Credible IFEA will work with your event to compile pertinent data necessary to interpret local data and provide a written Economic Impact Summary Report within 5 weeks of your event’s conclusion. (See complete program description for full details.) Program Investment The investment for an IFEA Economic Impact Study is $5,000, plus any direct

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(and approved) travel and study related expenses. Special circumstances, multiple events, etc. may affect the final investment SPONSOR SUMMIT In uncertain times, only the strongest business relationships survive. Strengthen the partnerships you have built with your festival’s sponsors by hosting an IFEA Sponsor Summit. When sponsors have to make difficult resource allocation decisions, they will remember the sponsor properties that gave them the tools and ideas they need to gain even greater value from their sponsorship investment. Ease and Convenience IFEA provides everything you need to host a Sponsor Summit, including invitation templates, wrap-up materials and host implementation strategies and timeline. An IFEA moderator will facilitate the Summit using our training program and networking activities that are filled with innovative activation ideas, successful case studies and customized networking activities. Sponsor Take Aways • Scores of new ideas and strategies to better activate their sponsorship. • An increased awareness of non-cash assets that can be harnessed to add impact to the sponsor/event partnership. • Chance to explore business-to-business and cross-promotional opportunities with fellow event sponsors.

• Proven techniques to measure sponsorship efficiency and sales increases. Program Cost $2,500, plus moderator travel-related expenses. The host event will provide the venue and basic AV equipment and is responsible for any food and beverage or entertainment functions related to the Sponsor Summit as designed and desired for your event. ON-SITE CONSULTATION/ PROJECT TEAMS Whether you are a community looking to create an all-new event; a tourism bureau or organization looking for guidance on policy creation or fulfillment; an event looking to upgrade your children’s area or add a parade; a board looking to turn-around a faltering event; a corporation looking to create an event sponsorship assessment system; a municipality trying to build an event management department or guidelines; or any other unique need that you may have; the IFEA can put together a customized and cost-effective team of leading industry experts to meet your needs. Call us and let’s talk about how we can help you meet your challenges… whatever they may be. Program Cost Prices will be quoted based upon the scope of each project and will include any necessary travel-related expenses and materials. TRAINING PRESENTATIONS Continued education and learning is the cornerstone of any successful event, but the cost to bring your entire staff and key volunteers to multiple training events can be prohibitive. Let the IFEA bring its educational offerings straight to your front door with its new line of educational workshops and presentations. Each of our wide range of industry topics is designed as a stand-alone presentation, but can be combined with others to provide a comprehensive and customized day(s) of training. The IFEA staff will work with you to assess your education needs and tailor a customized curriculum to take your organization to the next level, without ever leaving home. Customize a program specifically for your staff and volunteers or partner with neighboring communities and events to share costs on a regional program.

Host Responsibilities • Venue for the training event. • Any required/desired food and beverage. • Travel-related expenses for speaker(s). • Marketing cooperation. IFEA Responsibilities • Marketing support for your program using our extensive database, as desired. • Speaker selection and curriculum development support. Program Cost The cost of a customized training event is $2,500 for a half day and $5,000 for a full day, plus any speaker travel-related expenses. PROFESSIONAL FACILITATION SERVICES Would you like your festival/event/organization to… • Achieve organizational clarity? • Define actionable priorities? • Create a sustainable strategic vision? • Build better partnerships and enhance teamwork? If you answered yes to any of these questions then your event is a star candidate for IFEA’s Professional Facilitation Services! Let the IFEA provide a trained facilitator for your next board retreat, community visioning exercise or team-building event. You define the agenda, involved stakeholders and timeframe and an IFEA facilitator develops the methodology and provides the objectivity to lead your group though productive discussions to yield the desired outcomes. Program Cost The cost of Professional Facilitation Services is $1,000 per day, plus travel-related expenses. Additional research required prior to the event will be billed at a cost of $100 per hour. MATERIALS REVIEW Perspective (per spek’ tiv) – the ability to see things in a true relationship. Event planners face constant deadlines to sell sponsorships, direct operations, conduct marketing campaigns, inspire volunteers and manage budgets, leaving little time for the creative process. Sometimes all we need to speed along or enhance a project is some fresh perspective. IFEA’s new Materials Review service offers you that fresh perspective Spring 2013

by conducting a professional peer review of any materials or programs that you may be developing. Simply send us your draft copy and we will review it with a team of experienced industry professionals, make suggestions and recommend relevant resource materials. What Can We Review? • Brochures and other Printed Collateral Materials • Websites/online Marketing Campaigns • Sponsorship Solicitation Materials/ Proposals • Operations Guidelines • Volunteer Manuals • Employee Manuals • Requests For Proposals • Or simply call us and ask! Program Cost Prices will be quoted based upon the scope of each project. Please allow 30 days for the completion of the review. PHONE CONSULTATION Membership in IFEA has always meant that help is only a phone call away and our new Phone Consultation Service is broadening the scope of on-demand expertise available to you. IFEA has assembled a team of leading event specialists that are available to provide advanced phone consulting for virtually any need you may have. Of course, IFEA is still available on a daily basis to answer your general questions and guide you to available resources at no cost. Our Phone Consultation Service is designed to meet your more advanced needs and to deliver the best personalized advice in the industry when you need it. Program Cost An IFEA Phone Consultation package provides 10 hours of pre-paid advanced telephone support for $1,000. The 10 hours must be used within one year of the date of purchase and can be used in half-hour increments. After conducting an initial needs interview an IFEA staff member will schedule your first (and subsequent) phone consultation(s) with qualified industry experts that can answer your specific questions and provide solutions for those needs. GETTING STARTED For more information about any of the above or other IFEA programs and services, please contact our Business Development Director: Ira Rosen • 732-701-9323 • ira@ifea.com

IFEA’s ie: the business of international events 11

PEOPLE

Diana May h e w The National Cherry Blossom Festival, Inc., is a nonprofit organization that produces, promotes and coordinates Washington DC’s most iconic celebration in honor of spring and the city’s historic cherry trees, a gift from Tokyo to Washington, DC in 1912. The Festival sanctions and showcases over 50 participating organizations in the region, including our nation’s greatest cultural institutions. This four-week event elevates and delivers the brand of Washington, DC to the world as well as welcomes and creates memorable moments and experiences for over 1 million people each year. The Festival organization is dedicated to promoting the beauty of nature and international friendship through year-round programs, events, and educational initiatives that enhance our environment, showcase arts and culture, and build community spirit.

IN CONVERSATION How did you get into events? I stumbled into an opportunity to work in professional sports, starting out with the Washington Diplomats, an NASL soccer team. From there I went to the USFL (spring football). After several years of professional sports promotion, I changed career paths and entered into the hospitality industry in the position of Director of Marketing and Sales for Spirit Cruises and then the Odyssey. Through my work, I began to volunteer for the National Cherry Blossom Festival (an all-volunteer organization at the time). Several years later, I presented a vision for this event and then was asked to be part of making that vision a reality and became the first paid employee 12 years ago. What has been your biggest professional challenge? Working for and growing the National Cherry Blossom Festival has, by far, been my greatest and most rewarding professional experience. The Festival experienced several growth spurts over the past twelve years leading up to the Centennial Celebration of the gift of trees in 2012. During this time, the Festival went

from an all-volunteer to a yearround staffed organization, from less than a $50,000 annual budget to over $4 million. Audience reach expanded beyond Washington, DC to throughout the country and internationally. The Festival currently draws over 1.2 million attendees per year, now generating over $160 million in revenue for the city. Over the years, we often entered unchartered territory for the Festival, developing the Festival brand, new events and programs, essential partnerships that complement the Festival and the brand as well as developed and secured new funding sources and sponsorships… keeping intact the integrity and “roots” of the Festival. As many of my colleagues in the IFEA have experienced, the challenge continues… sustaining what the Festival has accomplished…keeping it fresh, creative and innovative every year, sustaining and increasing the funding, an energized staff as well as maintaining and developing new partnerships to meet the expectations of stakeholders and attendees. What do you do to relax? Nesting at home whether it is a quiet night with my husband or

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FACTS ON FILE Years in the Business: 31

Family: Married to husband, Kerry, for 29 years; four children, a son-in-law and a grandson Last book read: “Think Big: Unleashing Your Potential for Excellence” by Ben Carson Last business book read: “Who Moved My Cheese” by Spencer Johnson Diana Mayhew President National Cherry Blossom Festival 1250 H Street, NW, Suite 1000 Washington, DC 20005 +1- (202) 661-7596 Diana@downtowndc.org nationalcherryblossomfestival.org Diana joined the IFEA Foundation Board of Directors in 2013.

Continued on page 84

IFEA VISION

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

Publisher & Editor Steven Wood Schmader, CFEE, President & CEO Assistant Editor Nia Hovde, Vice President/Director of Marketing Advertising Sylvia Allen, Director of Partnership Marketing Advertising Sales & Expo Booking Art Director Craig Sarton, Creative Director Contributing Writers Gail Lowney Alofsin, Mitch Dorger, Jeff English, Greg Flakus, Matthew Gibson, Florence May, Kathryn May, Amer Meknas, Heather Pingry, Mary Margaret Satterfield, Doug Taylor Photography Andrew Rafkind

With respect to interactions with members/customers or those applying to be members/customers, the IFEA will not cause or allow conditions, procedures, or decisions which are unsafe, undignified, unnecessarily intrusive, or which fail to provide appropriate confidentiality or privacy. If you believe that you have not been accorded a reasonable interpretation of your rights under this policy, please contact the IFEA office at +1-208-433-0950 ext. 18.

For association or publication information: IFEA World Headquarters 2603 W. Eastover Terrace â&#x20AC;˘ Boise, ID 83706, U.S.A. +1.208.433.0950 Fax +1.208.433.9812 http://www.ifea.com

The 58th Annual IFEA Convention & Expo Pittsburgh, Pennsylvania, USA

CFE E

Mark Your Calendar Now!

CFEE Certification Classes Offered September 13th â&#x20AC;&#x201C; 15th, 2013 For more information visit us at www.ifea.com

CFE E

By Mitch Dorger

In the Board Room

Running in Place I spend a fair amount of time each week meeting with nonprofit leaders – both staff and board. Invariably, I ask how well they think their board is performing and to what level they think the board is contributing to the success of the organization. More often than not, I hear about problems the board is having or how they are not contributing effectively to the success of the organization. Most all report there are areas of board performance that could stand significant improvement. I then ask what they are doing about improving the performance of their board in the areas indicated. The interesting thing is that very few are doing any type of performance improvement program for their board. To me, this seems so contrary to the normal way of running an organization. Why would any good leader choose not to improve an area of significant organizational weakness? I doubt any CEO in the for-profit world would identify an area in their company that needs improvement and then choose to do nothing about it. So what causes this phenomenon in the nonprofit world? I have been kicking this question around in my mind for some time now and have come to some preliminary conclusions about this lack of effort when it comes to improving the performance of the board. To help explain this I have come up with five quotes that relate to the various problems. In the 1981 movie “History of the World, Part 1” Mel Brooks, playing Louis XVI, utters the now famous phrase, “It’s good to be the king.” I think all-too-often this applies to nonprofit organizations where one individual – either an executive director or board chairs – has garnered the bulk of the power in the organization. Often, this may be the founder of the organization. These individuals are not particularly interested in the sort of shared partnership that takes place in an organization with a good executive director

and a strong engaged board. Instead, they are interested in the board not interfering with what they want to do with the organization. These individuals often restrict the flow of information to the board and make the bulk of the key decision outside of the board environment. More often than not, the “king (or queen)” is actually aided and abetted in achieving total control by a board made up of friends and cronies who are perfectly content to let them run the organization. It is telling that many, if not most, of the horrific scandals appearing in the press about nonprofits feature the existence of a “king” or “queen” in the organization who operates outside of the oversight of a board. The second quote comes from a popular song by Taylor Swift, in which she tells her antagonist, “You don’t know what you don’t know.” A Persian poet by the name of Ibn Yamin wrote about the four types of people in the world. He wrote there is “one who doesn’t know and doesn’t know what he doesn’t know.... He will be eternally lost in his hopeless oblivion.” To me this same prediction applies to some boards as well. A best practice in developing good boards is to have a strong orientation program that not only stresses knowledge of the organization but also highlights the duties and responsibilities of the board and individual board members. Think about it. Most people who are selected for board duty don’t have an innate sense of these topics. Most are either selected because they are successful business people or exceptional volunteers from within the organization. Nothing in their day-to-day lives necessarily prepares them to be effective board members. In short, they don’t know what they don’t know. If no one trains them on what they should be doing and how exceptional boards operate, problems often go undiscovered and uncorrected. The result is a board that doesn’t even know it’s not doing what it should be doing.

The third applicable quote comes from Mark Twain, who wrote, “The lack of money is the root of all evil.” Let’s face it; very few nonprofits are flush with cash in the face of recessions and rising demand for services. The result is that boards and executive directors have had to make hard choices about what to fund and what to put off. It is unfortunate, but board training and performance improvement seems to be an area that gets slipped. The one exception is that organizations seem ready to spend money to convince board members to give more money or to be more active in fundraising. This is certainly understandable, but it also stems from a mistaken view that the primary purpose of the board is fundraising for the organization. Certainly fundraising can be A role, but it is not The role of the board. This overemphasis on fundraising is often reinforced by a lack of understanding about what exactly the board should be doing outside of fundraising. Without an understanding of the benefits of an educated and engaged board, it is unlikely that nonprofits will spend money to improve the quality of board performance. The fourth applicable quote comes from Abraham Lincoln who said “He who represents himself has a fool for a client.” Lincoln was referring to legal representation, but the same basic concept applies to executive directors or board members who attend some sort of board training course and then think they can reform the board from the inside. Such efforts may result in some improvement, but it is my experience that an outside set of eyes is required to ask the hard questions and point out the “elephants in the room” that people inside the system can’t or won’t mention. If an organization is really interested in upgrading the performance of the board or improving the board-staff relationships in the organization, they should get an outside set of eyes to help them look at current performance and identify things that need improvement. The final quote is attributed to Deion Sanders among others. It goes, “Looking Good is Feeling Good.” How this applies to boards is that there are some board members who join boards for the wrong reason. They simply want to be seen as a member of the board, but they don’t really care about carrying out the actual work of the board. These individuals are interested in looking good either within their community or within their organization, but they don’t want to expend the time or energy to learn about proper board functioning or making changes needed to improve the current functioning. I would speculate that some boards that don’t make an effort to evaluate their board performance and take the time and Continued on page 86

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Good

Great

CFEE

Maybe it’s Time to be Recognized for What You Bring to the Table.

As a professional in the Festivals & Events Industry, you know the difference between Good and Great. You’ve dedicated yourself to the “whatever it takes” approach that has become your hallmark. You understand the importance and value of continuing to hone your skills, growing your knowledge base, expanding your professional network, and surrounding yourself with others who have reached the top levels of their careers as well.

CFEE (Certified Festival & Event Executive), the IFEA’s professional certification program, provides the essential difference between good and great among professionals in our industry. It signifies the highest level of achievement. Attainment of your CFEE certification provides recognition of your commitment to excellence, experience, and to your career, placing you in an elite group of the top festival and event professionals in your field. It’s a statement of quality that you bring to the table.

For more information about the IFEA’s professional certification program, and our 2011 CFEE FastTrack® Program, contact Bette Montieth at bette@ifea.com or call +1-208-433-0950. The CFEE Professional Certification Program is Sponsored by

THE SPONSOR DOC

With Bruce L. Erley, APR, CFEE

The Doctor Is In I have two sons in medicine. Frankly, when they come home for the holidays and start talking “business,” my eyes glaze over. Nothing like jumping into a light discussion about micro cardio infarctions. It occurred to me that when I start discussing event marketing strategies, sponsorship activations, ROI metrics and the many things I find fascinating about my work, it often falls on deaf ears, (my boys would likely tell me that this condition is called anacusis.) So when the IFEA invited me to start writing a quarterly column on sponsorship, I jumped at it. While sponsorship sales is not brain surgery, it is still a daunting task for many event producers. Like a medical condition, it includes symptoms (e.g. loss of sponsor dollars), testing and lab work, diagnosis, prognosis, treatment, and hopefully restored health. That will be the purpose of this column. I invite you to submit your conditions, concerns, questions or remedies, and we’ll use this space as a public forum. Hopefully, we’ll all learn something tangible and helpful in identifying, soliciting, securing and renewing sponsors. Send your questions to bruce@sponsordoc.com and I’ll contact you to discuss your specific situation. Then we’ll publish the findings in this column. (Just like the latest discoveries being published in the New England Journal of Medicine.) Thanks for your participation. Here’s to a better life through sponsorship! 16 16

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Spring Spring 2013 2013

With more than three decades in sponsorship sales and consultation, Bruce L. Erley is the President and CEO of the Creative Strategies Group, a full-service sponsorship and event marketing agency based in Denver, Colorado he founded in 1995. Accredited in Public Relations (APR) by the Public Relations Society of America and a Certified Festival & Events Executive (CFEE) by the International Festivals and Events Association, Erley is a highly-regarded speaker on event marketing and sponsorship having spoken on the topic around the world in such places as Dubai, Vienna, Beijing, Toronto and New York. Contact Info: Bruce L. Erley, APR, CFEE President & CEO Creative Strategies Group Phone: +1-303-558-8181 Business Email: berley@csg-sponsorship.com Column Enquiries Email: bruce@ sponsordoc.com

IFEA

C AR E E R N E T WOR K

The Power of Bringing Great People Together with Great Careers Looking for an experienced employee to fill that vital job position? Interested in a career or wanting to advance yourself in the festivals and events field? Want to be sure that you target the top people in the festivals and events industry and ensure that your organization doesn't miss the most qualified candidate available? IFEA's Career Network can help. Now with a new partnership through online job board and applicant tracking system, TeamWork Online, your search base for positions and your reach to find qualified candidates has grown exponentially within the live festivals & events industry. With a reach of over 1.25 million potential candidates and educators interested in sports and live event positions, this new partnership between IFEA and TeamWork Online not only brings increased qualified candidates to your employment position,

but also increased employment positions to those candidates looking for employment! Positions range from top management positions such as CEO, Presidents and Executive Director to Special Events Coordinator, Volunteer Coordinator, Sponsorship Sales and more. Even internship and volunteer positions can be posted! Even better, if there’s not a position posted in an area or company you’re interested in, the TeamWork Online system can notify you when something becomes available! It’s an ever expansive employment network that is constantly talking and working on your behalf! If you are currently in search of a candidate, or are someone in search of employment, get started in your search today through IFEA Partner, TeamWork Online.

Got www.ifea.com and look under Resources

By Doug Taylor

I’ll Have One, Please, Without

Buy a new car and two weeks later as you run out the door for an important meeting, it won’t start. You have PAIN. Buy a new blouse and after one wash, you find the seams have separated. You have PAIN. Take time off work, arrive at your doctor’s office early for an appointment and find yourself still waiting two hours later. You have PAIN. Hire a company to produce a fireworks display for your event… If the fireworks company does not diligently perform all of its tasks from evaluating the site to clean-up after the display without interrupting you and support your needs, you can have PAIN. Let me suggest that you evaluate each step of the process and identify the pain that your organization could feel, and as 18 18

a result what pain you could feel if the fireworks company does not do their job. For example, if the technicians are rude when you want to bring one of your biggest sponsors out to the site, you might find that sponsor is less interested in working with you next year. PAIN. If a mess is left after the display and the city maintenance crew has to clean up, you have extra expense and the Maintenance Director is angry because his crew had other things that needed to get done. PAIN. If you told the press that there would be smiley faces in a certain section of the show and all you got was concentric circles in the sky. PAIN. If regulations are not being met and the local official who oversees fireworks displays refuses to let the show to be shot. PAIN. Include the cost of that PAIN in what you paid for the display. That is the true cost. Explore the points of potential pain with the fireworks companies you are considering and understand how they will avoid producing that pain that you

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and your team could feel. You might find that paying more upfront for a company that will prevent you from feeling pain might be the cheap way to go. Proudly known as the “First Family of Fireworks,” Zambelli is one of the oldest and largest American fireworks companies. Today, the family name is synonymous with quality, creativity and safety. Zambelli Fireworks is an IFEA Association Partner in addition to the sponsor of the IFEA/Zambelli Fireworks Volunteer of the Year Award recognizing outstanding volunteers whose unselfish and dedicated service has made a significant difference in their community. Visit them at www.zambellifireworks.com. If you have fireworks questions you would like us to address in our column, please email me, Doug Taylor, President/ CEO Zambelli Fireworks at dougtaylor@ zambellifireworks.com.

Is Your Online Marketing

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

If you are like most events/organizations, your on-line marketing presence and visibility is really just a summation of non-related, often outdated, components and links and access to miscellaneous tools/ toys that someone in a seminar somewhere said that you should be using, with no real ‘plan’ to it at all. You may not even be sure anymore just what you have or what it should do, let alone having a plan for strengthening / upgrading it. If this sounds like you, it’s probably time for an online tune-up. We’ll make sure your Online Marketing is Plugged In! Working with some of the most experienced professionals in the field, IFEA is pleased to offer our new “IFEA Online Marketing Audit.” The Audit includes a formal evaluation of a festival/ event’s online visibility by an expert team from Edgeworks Group that includes web developers, social media consultants and online marketers. This broad assessment – a starting point for defining both a short-and-long term roadmap for creating a powerful online presence covers your event/ organization’s: • Online reputation • Social and mobile integrations • Search optimization • Website usability • Social media efforts. • Installation of tracking tools • Updates and customizations to existing tracking programs • Verification of Webmaster tools for both Bing and Google

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

THE UN-COMFORT ZONE

With Robert Wilson

You’ll Know When You’ve Arrived During the 1996 Summer Olympics, I saw a young athlete with his brand new silver medal around his neck and a massive smile on his face. He was so thrilled with his achievement that he was mixing and mingling with everyone he met on the sidewalk. Perfect strangers were shaking his hand, slapping him on the back, and having their picture taken with him. I did not know who he was, but it was clear that he was relishing the highest point of his life to date. On March 29, 1982, amid thunderous applause, Katherine Hepburn stepped onto the stage at the Academy Awards to receive the Best Actress Oscar for her performance in On Golden Pond. Was she as thrilled as the Olympic athlete that I saw? Probably not. It was her fourth. Been there, done that, the mantle is getting crowded. In my column titled Pack Mentality, I wrote that human beings are highly motivated by status and its symbols. A reader contacted me and said she had grown beyond that. She told me how, after 20 years of financial success, she put the corporate world and materialism behind her. She now works at a fraction of her previous earnings for a non-profit organization dedicated to enhancing the lives of babies. I agreed that she had put status and its symbols behind her, but only in one area of her life. I then asked her what level of comfort was she seeking to achieve in her new career? Abraham Maslow, in his Theory of Human Motivation, identified five levels of need that people strive to satisfy (in order, they are: Survival, Safety, Social, Esteem, and Fulfillment). I have found that we work through those five levels separately in each area of our lives: work, 20 20

relationships, parenting, hobbies, sports, volunteering, etc. With each new endeavor, we attempt to pass all the mileposts until we reach our comfort zone. There is a joke about parenthood that illustrates this: When the first baby drops her pacifier on the ground, the parents sterilize it before giving it back; with the second baby, the pacifier gets wiped off; and with number three, it just gets popped back into his mouth. I used to think the humor referred to how harried the parent was from handling the needs of three kids, but now I realize it refers to the parent’s comfort level with raising children. Status is an esteem need, and the symbols that accompany it are recognition for our achievements. However, as long as those status symbols remain important to us, then we haven’t mastered that area of our lives. It is when we are in our comfort zone that the achievement is secure. At that point, the symbols are no longer important and we are ready to move on to the highest level: fulfillment. You will know you have reached the peak when you freely share your expertise with people who are levels below you. Many years ago, I heard an interview with a professional football quarterback. The reporter asked him if he ever taught his secrets of success to younger up and

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coming players. He replied, “What, and lose my job to one of them? Hell no! Let them learn it on their own the way I did.” Clearly, he was not yet in his comfort zone. All of us have reached a comfort zone in one or more areas of our lives. I spent six years as a member of the public speaking organization, Toastmasters International. For the first four years, I was fully focused on learning and achieving. In that time, I completed two educational levels and won 13 speaking contests. During my last two years in Toastmasters, I became a professional speaker and was no longer interested in entering the contests. The shine of those “amateur” trophies had worn off a bit, and I found my joy was in sharing what I already knew with those who were just beginning. You will know you have reached the highest level, when sharing your expertise is as satisfying as achievement.

Robert Evans Wilson, Jr. is an author, speaker and humorist. He works with companies that want to be more competitive and with people who want to think like innovators. For more information on Robert, please visit www.jumpstartyourmeeting.com.

In Times of Uncertainty, Leadership and Vision are Priceless “Fund for the Future” A three-year, $500,000 campaign using the current market environment and changing times as an opportunity to strengthen association programs and to ensure that the IFEA will continue to lead, serve and support our industry, especially through challenging times, for many years to come. The “Fund for the Future” campaign will provide reserves against current and future economic realities; allow the organization to keep pace with new technologies, bringing our global industry closer together; and allow us to expand our services, resources and programming reach around the world.

Make a Pledge Today. Contact any IFEA Foundation Board, IFEA World Board, or IFEA Staff Member for more information. Individual and Organizational Contributions are welcomed and encouraged. All contributions are tax-deductible in the United States. For more information go to www.ifea.com.

ENGLISH 101

By Jeff English

A Skull Full of Mush Questioning and Answering. Questioning and Answering. Better known as the Socratic Method, it’s one of the most “wonderful” and widely used methods of hazing first-year law students. Why not just give a lecture? Because that’d be way too easy! It’s argued that through this method students learn to teach themselves. Answering a question only leads to another question. There is no absolute answer to any question. Thinking you’ve found the final answer would be a complete and utter delusion on your part.

The 1973 movie, The Paper Chase, is Hollywood’s best representation of law school. While professors are now much kinder and gentler than the curmudgeonly Professor Kingsfield, his admonition that, “You come here with a skull full of mush and leave here thinking like a lawyer,” might explain why lawyers sometimes just think…….differently……. than normal people. The art of completely analyzing a broad, complex set of facts is one of the most useful skills learned by young lawyers. So what does any of this have to do with Festivals and Events? Glad you asked! Consider these facts: A female patron is walking through a field at night during an event called a balloon glow. A balloon glow consists of approximately 40 inflated hot-air balloons tethered to the ground igniting their burners in time to music, therefore giving the balloon a “glowing” effect. While the patron was looking at a balloon, she stepped on an uneven piece of ground and broke her ankle. EMS was called and she was taken to the hospital to be treated. She subsequently filed suit against the festival, claiming negligence due to hosting an event on an unsafe venue. 22 22

On its face, these facts appear complete. However, when it came time for depositions, the patron was there for an entire day. Questioning and answering. Questioning and answering. For 8 hours. • Q: It was noted by festival staff members that you said you were looking up when you fell, is that correct? A: Yes, I was looking up at the balloon rather than looking at the ground. • Q: Please describe the uneven ground. A: It was a hole. I’m not sure how deep it was. (Note, they called it a hole, I called it a depression!) As you can see, these questions and answers revealed some very important information. The Patron was looking up at night while walking in a field and was unsure about the true depth of the “hole,” which was never found or identified. The discovery of these facts allowed the festival to pass some of the blame for her broken ankle back to the Patron. Notably, the Patron should have expected the ground in the field to be uneven and exercised greater care while walking around the venue. While the case was indeed settled out of court, the festival was able to negotiate a lower settlement than previously expected.

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My point is this: Make sure your volunteers and staff members pay attention to facts during an incident. Make sure they remember what an injured patron says and the exact details of what they witness. Here at KDF, we provide everyone on the venue with a Safety Manual that outlines in precise detail what information is needed and should be recorded if something happens. That information has come in handy on more than one occasion. In my next column, I’ll delve deeper into the KDF Safety Manual and share another set of facts where paying attention to the details saved a lot of money and headaches. As always, please e-mail me all of your legal questions, or questions about life in general if you wish, to jenglish@kdf.org or call 502-572-3856. Jeff English is the Sr. Vice President of Administration/General Counsel of the Kentucky Derby Festival. After graduating from Washburn University School of Law (Topeka, KS) in 2004, Jeff worked in politics and practiced law before joining the KDF staff. As General Counsel for KDF, he is charged with overseeing all of the Festival’s legal issues, along with serving as its risk management officer.

ASSOCIATION PARTNER

ASSOCIATION PARTNER ASSOCIATION PARTNER

Turnstiles: Marketing for Event Managers By Sean King

Strategies and Solutions for Today’s Marketing World Welcome to the first in a series of articles developed exclusively for Executive Directors and other senior management to provide strategies and solutions for event marketing challenges in today’s oversaturated world of posts, tweets, blogs and mass media. Written from the perspective of over twenty years of event promotion and management, we will offer insight and inspiration to you and your team to face the big questions that affect the attendance, sponsorship, volunteering and brand building of your event. Our job is to assist you in getting folks through the Turnstile. After all, the more folks that come through the gates the better, because that means you are growing, testing and creating new opportunities for your fans and community. Maybe you do not have a veteran, marketing department at your disposal, or you run with a team of volunteers? Perhaps you are new to your role and marketing is only just one big cost center to you? Then we believe “Turnstiles” is for you. Consider it a quarterly dose of good old-fashioned common sense in a world where the next big thing seems to be in your inbox every morning. Whether you run an annual festival, are considering expansion of your festival, or manage an extended series of events, your needs are the same as everyone: you need the audience that is most likely to attend 24 24

your event to KNOW about it and DO something about it. In short, you need them to come through the Turnstile and we hope to help you accomplish that goal. For our first article we pose The Five Questions You Should Ask Your Marketing Manager.

Do we have a plan? The first step toward any successful marketing outcome is to have a detailed plan to provide the entire organization with a roadmap to success. With a simple, non-cluttered Marketing Project Plan, marketing will know where it’s going, where it should be at any given point in time, what media will be used (and in some cases not used), the tone and content of the messaging and at what frequency the audience will be engaged. Most importantly, the rest of the organization will be able to follow along as well. Doing the work of planning is never glamorous, but just as in the writing a solid business plan, once the initial plan is created, the team will have a game plan to follow for years to come, with necessary tweaks able to

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be made along the way creating a dynamic, living, breathing document. The focus of the plan should consist of five parts: taking inventory of your communication assets; analyzing the media to be implemented; setting the timeline to be followed; determining the audience to be engaged, and developing the tone, content and frequency of the messaging. A plan that addresses these main components is one that is already headed toward success. After the plan is crafted, you and your marketing manager will be able to chart the course for adventure, while meeting your benchmarks on the way to your goals.

What is one new initiative or project that we are adding to the plan this year? There are many factors at work when putting together the marketing plan for an annual event or festival. The most important factor is the team assembled to execute the plan. Unfortunately, there are times when organizations suffer the turnover of key individuals from one year to the next.

When that happens, the personal relationships and institutional knowledge may leave with them. However, if you are lucky enough to keep staff together year to year, there’s a great opportunity to push your marketing to the next level by putting forth a mandate to add one new initiative each year. Many teams adopt this as an ongoing strategy, but if you don’t, we encourage you to add it to your plan for your next event. We strongly encourage you to do this upfront in your planning stages, because without forethought, it is difficult in the heat of battle to create and implement a new initiative when resources are tight, and time is at a premium. When developing a new initiative, examine what has and what has not worked in the past. You will also want to include in the discussion a review of the prior year’s plan and what were some of the ideas that in retrospect you wished you could’ve added in the course of marketing and promotion. These types of anecdotal impressions can make the decision a no-brainer in many cases. You will eventually wind up with a new initiative such as adding a new media partner, connecting with a new audience segment or adding a social media platform, or exploring other ideas including implementing onsite data collection campaigns, unleashing street teams, courting a new strategic partner or an idea on an even larger scale, perhaps a WOW initiative. The bigger the gamble might mean the bigger the payoff. Although you should be sure at all times, the anticipated result is at least worth the resources and energy placed in developing the new idea.

What should we expect from our social media strategy? Today’s conversations with your audience are now about sharing, engaging and providing new engagement and access for your fans. This major shift should play a role in your planning at every step. The scarcity of mass media no longer exists and ‘spraying and praying’ when it comes to advertising and promotion is the least effective method to build an audience. Rather, the efficient marketer is spending time creating followers, connecting with fans and building a critical mass of those who would and should attend their event. The new landscape is about relevancy and if marketing messages aren’t getting to the intended audience, then the opportunity and effort is wasted. Of course, almost everyone has a Facebook page, but social media presents a strong opportunity to go far beyond that depending on the audience.

Are all social media platforms equal? Absolutely not. When attempting to reach a younger demographic, the full array of tools should be considered. However, if the demographic is a little older or less tech-savvy, then an investment in exploring the depths of all social channels should be less. The answer is to know your audience and then create the strategy that resonates best for them. Lastly, a marketing manager should have at least one, if not a team of, social media types engaging with the event’s online community. Without a strategy for social to deliver measurable results, organizations may wind up wasting a great deal of time and energy with very little return on investment. We are only at the very beginning of understanding social media, and with new platforms and new iterations of current ones being added virtually every day, being able to tell the difference between a Tumblr and a Flickr and how you can leverage one over the other, could be the difference of bringing another new passionate audience to an event or missing them entirely.

How can we maximize our strategic partnerships? Very few advances in the world of events and festivals have had such a profound impact as have strategic partnerships. What first came about as financial sponsorships and media relationships, have now developed into multi-faceted partnerships. These ties allow you to promote your event, while also providing your partner the opportunity to leverage their involvement in new and exciting ways. What some festivals overlook is maximizing every level of the relationship to benefit financially as well as from the promotional opportunities. Event marketers should explore all possibilities to bring those extra new faces to the event and in turn, provide additional value to their partner. It is through these new initiatives where partners who initially provide purely financial or in-kind support, can actually assist in driving attendance. Don’t forget this type of relationship development impacts the sponsorship sales function as well. Make sure your sales and marketing team works as a team to create mutually beneficial outcomes by creating value-added experiences for your partners and their fans.

What does our success look like? From the perspective of any CEO, Executive Director or Chairman, all the plans and good intentions in the world do not mean a thing unless there are direct and measurSpring Spring 2013 2013

able results coming from marketing. It is important to get agreement upfront on the goals of the plan and how this impact will be credited to the activities of marketing. There is no single department as responsible for the short and long term success of an event as marketing. While programming and customer experience teams can assure fans will come back for more, it is up to the marketing team to manage the brand, build awareness and drive traffic. Marketing needs to know when to add more intensity and frequency to the messaging to get results for this year’s event, while concurrently building momentum for next year. In the end, the revenue generated and attendance figures are what determine the success of any event. Marketing impact should be measured alongside all of the pertinent sales data to evaluate the effectiveness of the advertising and promotion plan to determine what components work, which ones do not, which ones need to be expanded upon and which ones may need to be cut. The final question to your marketing manager is one you’re probably already asking at every staff meeting: “What do you need from me?” Successful leaders know their job is to give their team all of the tools and opportunities for success and then get out of the way. Marketing is no different. Have the tough conversations upfront and you’ll avoid the discomfort of post-event if-a, could-a, would-a, and should-a’s. In summary, success begins with the plan, the people and a willingness to improve on what you already do well and the addition of new ideas, channels and connections to the mix We are all very fortunate to have the opportunity to pursue our passions in this industry and to create remarkable experiences for large numbers of people. With a well-thought out and equally well-executed marketing plan, more people than ever will be able to experience your event this year, and that’s a really good way to measure success!

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

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A FESTIVAL, By Matthew Gibson

A FORKLIFT...

AND POOP! 26 26

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Don’t know if this is what you would consider “casual reading,” but I do feel it necessary to issue a warning that it does involve a Festival, a forklift.....and poop. Yep, poop! As some know, I produce events for a living, pretty big ones at that. The Kentucky Derby Festival’s Opening Ceremonies Thunder Over Louisville, is the kick-off to the 70-events-in-two-weeks Kentucky Derby Festival that I work for that celebrates the Kentucky Derby. Thunder Over Louisville alone attracts almost 800,000 people for the nation’s largest one-day fireworks show and all day air show. As there isn’t a venue in Kentucky (or anywhere for that matter) that can accommodate that type of crowd, we have to build it and build it fast. That includes everything from generated power to run the couple hundred merchandise booths and concession stands, install gargantuan sound systems, implement safety infrastructure to providing ample places for everyone to go to the bathroom and everything in between. As you can imagine, it takes A LOT of port-a-johns to support that many people. So many in fact we have to bring them in from 3 states! The worst thing about this being a one day event is that on a “good weather year” where the crowd gets there very early, these bad boys reach “capacity” by early evening (you can use your imagination to figure it out). Well, we had spectacular weather this particular year and after the event when we’d completely put downtown back together as if the event never happened (in record time I might add), the waste management company kept telling us that we were missing a single Port-a-John unit. How the heck were we missing a PJ unit I ask myself? We’ve lost a lot of equipment, had things stolen, destroyed things on a regular basis, etc., but never a PJ. Who would want one of those things? We knew their numbers weren’t off because we audit all the various services and equipment that show on the venue and our numbers matched prior to the show. We all wrote it off to bad removal accounting and moved on to implement the rest of the festival’s 70 events. Fast forward 8 or so *hot* days. Using a portion of the same venue as the fireworks/air show, we build a 9 day Chow Wagon, a big rockin’ stage plus beer garden that sees roughly 10,000 people a day.

Towards the end of the Festival, I was sitting on my mobile people watcher (aka: golf cart), when a lovely young mother came rushing up to me carrying her daughter in a frantic state. This woman had a mixture of concern/disgust/ revolt etc., on her face and I immediately popped into my whatever-this-lady-tellsme-I-need-to-get-it-fixed-immediately mode. Little did I know! She proceeds to explain to me that she brought her family down to play in the funpark inflatables/jumpies/rockwall section of our venue and when they were eating earlier they saw what looked to be a “well-kept secret port-a-john” tucked way behind a HUGE outdoor sculpture in the park, no lines or anything! Well you guessed it, she found the missing PJ. Upon hearing this, I ran to get my trusty forklift that we use for everything on our venues. In the meantime, some of my on-site team worked their way over to the area to keep anyone else from using the PJ because we were swamped at the time. In my almost 13 years with the organization I’ve moved hundreds of PJ’s so this wasn’t going to take but a few minutes. Heck, the longest element should be just getting the forklift over to that end of the venue... I pull up and the look on my co-workers face seemed to match that of the woman when she originally approached me. At that point I wasn’t sure why, but I chalked it up to “sympathy” on their part for the young woman. Instead of getting down and assessing the situation, I went ahead and lowered the forks, pulled up to the PJ’s door and proceeded to slowly lift and tilt the unit (only so slightly as I knew this thing could be full) so it wouldn’t slip off, again. Little did I know! As I put the forklift in reverse I must have disturbed and awakened Beelzebub, Lucifer - Satan himself. As you can imagine after not only “supporting” its portion of an 800,000 person event, then sitting quietly for 9 days in the hot sun before being disturbed by my forklift, it had taken on what I would call a life of its own. Spring Spring 2013 2013

I honestly believe this thing had formed a “skin” if you will and when I moved it all hell broke loose and the most unimaginable, horrid odor with legs violently came forth. The multitude of curious people around at the time scattered like Godzilla was coming up behind me and they were in fear for their lives. I thought “Ok, I gotta get this thing out of here, I can take it.” That lasted for all of 1.4 seconds. Unable to take it I bolted off of the forklift, weak kneed, gagging and sputtering, which caused the safety seat to kill the ignition. Anyone who has driven a forklift knows that when you break the connection on the safety seat, it doesn’t come to a “smooth” stop, it jerks, pretty violently I might add. “Spillage” was now the key word and when I say this industrial waste smell had legs, I mean it. The odor was running yards away from this PJ and affecting 10’s of people at a time. People I might add that had settled in for corndogs, elephant ears, huge ice cream sundae’s etc. On this gorgeous music filled night, they were all abandoning their goods, running, scooping up children and the infirm, trying to get clean air, any air. The worst part? No not quite yet. I had to get *back* on the forklift and finish what I started, taking this thing on a long meandering ride throughout the venue that was continuing to fill up by the minute! I’m telling you, I’ve got a pretty strong stomach and have smelled some bad things in my life but this kept bringing me to tears, gagging, wrenching, redeyed tears. I couldn’t go 8-10 feet without retching and jumping off the moving forklift, at which time, as you guessed, it would jerk around and shake that thing up like a whipped poopie smoothie. AT LEAST 45 minutes later, once my crew had completely abandoned me, I finally got this thing back into the service compound on the venue. I left the forklift where it sat, attached to the PJ and ran as far as I could to get clean air. When I called the waste management company they informed me they’d come out ASAP to get this thing. When they showed up, this is no embellishment, the “techs” SUITED UP in hazmat like outfits and hoods so that they could address it properly! They said, if I remember correctly, that as a result of the hazardous type material, this unit would now be taken out of service! How bad does a poopie receptacle have to be to be taken out of service? I think I have a pretty good idea.... Matthew Gibson is the Vice President of Events at the Kentucky Derby Festival, Inc. based in Louisville, KY.

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e r e HGo

By Florence May & Kathryn May

AGAIN! My alarm buzzes. One eye catches the time. 5:00 a.m. Please, say it isn’t so. Closing my eyes momentarily, I wonder what exactly had possessed my brain and mouth to volunteer me, yet again, for an event that starts much too early; sucks every bit of energy from my being and devours the entire weekend. As my feet touch the cold floor, I am convinced that serial volunteer activity is the mark of a crazy person. There must be others who share my aversion to early mornings but each year thousands of volunteers register on TRS – The Registration System – to work ticket gates, concessions, water stops, kids activities, parking lots and information booths. Many work multiple shifts on multiple days. What motivates people to give contributions of time, talent and sometimes even treasure to event organizations? de Tocqueville (1835) proposes that “by dint of working for one’s fellow citizens, the habit and taste for serving them is at length acquired.” Is it really that simple? Citizens simply develop a habit of community volunteer service. Or are there more complex factors at play? After comparing a number of volunteer research studies and first-hand volunteer management accounts, I have come to the conclusion that a broad combination of motivational factors contribute to the act of volunteering. 28

Human Motivation The literature of Atkinson and Birch (1978) and, later in 1986, Maehr and Braskamp defined three basic sources of human motivation. These seem to fit many of the generalizations often made by volunteer managers. Achievement. Some volunteers desire to perform at a high level and actively seek situations at which they can excel. Does your event offer challenging tasks? Are you seeking high achievers to help elevate or evolve your services and programming? Affiliation. Other volunteers desire positive relationships. They want to help others and care about feelings. Are you recruiting these volunteers to be the public face of your event? Several studies show that older volunteers tend to fall into this category. Power. There are also volunteers who desire to be in control and influence others. They want opportunities to direct others and to implement changes. Have you identified these people for jobs that require command and control talents such as committee chairs and team leaders? In the professional workplace it is important to have a balance of working styles and motivations. It would be reasonable to deduce that the same equilibrium is needed for a well functioning volunteer operation. These three motiva-

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tions strike me as a good starting place but relatively simplistic. Altruistic Values In the search for deeper levels of motivation, Clary (1998) proposed that volunteers “work” with greater purpose or more altruistic values at the core of their sustained efforts. Their service may generate from a desire for one of the following: • Educational function in gaining new knowledge about a wide range of organizational, issue or functional topics. • Social function involving relationships with others. This may be to fill a void – older people who have retired or lost loved ones, or younger people who have moved to a new city or seek to develop new social networks. • Career function in providing training and contacts. This may be an opportunity to develop or improve job skills. • Protective function of helping others. These actions may relieve individuals from feelings of guilt of having too much while others have too little. • Enhancement function of improving self-esteem. Volunteering often provides opportunities for people to shine in public, or receive positive reinforcement that they do not find in the workplace or at home.

Our TRS account representatives regularly hear anecdotal evidence from volunteer managers that many of these altruistic attributes play an important role in continued volunteer commitment. However, the inspiration for volunteering may vary greatly depending on the stage of life and a combination of environmental influences. All of the above may impact volunteerism but the TRS team thinks one more motivation should be added to the list. We observe this trait regularly among community event volunteers. Community Pride There is tremendous community pride in hosting major sports, festivals and cultural events. The events can be annual like SeaFair, 500 Festival, and Kentucky Derby Festival or one-time host opportunities like the International Choir Games and Super Bowl. There is a strong desire to connect with popular events in the community. Involvement in high profile activities offers the perception of a certain status and prestige but also to in the center of the action. Volunteers for these types of events often enjoy the networking and feeling that they are “in the know”. Veteran volunteer manager, Joelle Baugher, notes, “During special events there is a “Can Do Spirit” in the community and positive media attention that volunteers may find both energizing and addictive.” She adds” my job was to make volunteers understand that their role is critical to the event and the event is important to our community image.” Irrespective of the motivation, volunteer managers are important to creating an environment that keeps volunteers enthusiastic about your event Consider your most important volunteers. Do you understand their drive to return year after year? Take a peek at the TRS TIPS sidebar to critique your volunteer program Are you motivating your volunteers? Here I go again. (Closing) I arrive on site at the event. The event banners are waving in the wind. Musicians are warming up in the distance. The local weatherman is filming the set-up teams and predicting fantastic event weather. My team leader greets me warmly, “Glad to have you back. We are fully staffed but I really need your experience today. We are going to be very busy. ” Why am I here? I am making a difference and I love it! Florence May is the President and Managing Member at TRS, The Registration System. She can be reached at email: fmay@theregistrationsystem. comor or phone 317-966-6919.

TOP 10 BEST WAYS TO DE-MOTIVATE EVENT VOLUNTEERS

At TRS we often see event management organizations who have high no-show rates or low second year return rates. Over the past 12 years our team has documented that these results are often indicators of poor volunteer experiences and a need for fundamental change. Take stock in your motivational toolbox. Does your organization …? unrealistic expectations for the volunteer experience. Do volunteers 1 Set think they will be near the event action, when in reality they will be in a parking lot far away? Is the volunteer job too physically challenging for some of your recruits?

too many or too few volunteers. Volunteers value their time. 2 Schedule Are they bored or completely overwhelmed?

Give volunteers jobs they don’t want to do. Do your volunteers get to pick their jobs? Or does your organization assign based on need? If you are assigning people to jobs they don’t want, understand they likely will not return. You need to recruit the right people for the right jobs.

Ignore volunteers who have negative impact. Yes, those volunteers who get the free shirt, free parking and food but don’t work or showcase anti-social or unprofessional behavior. Better consider cleaning house because those volunteers will drive away your great volunteers.

inappropriate work. Heavy lifting, industrial clean-up, and 5 Assign potentially dangerous work should be hired out to specialists or com-

munity groups that regularly handle and are prepared to safely manage these jobs

low standards. A “good enough” mentality will discourage 6 Establish high achievers from volunteering with your organization. 7 Communicate poorly. Is all communication after the fact? Is there

a system (e.g. e-mail, text) to communicate changes or send regular reminders about important items? Or do volunteers discover challenges on site with no preparation?

Ignore volunteers on site. Most volunteer managers are great at showing appreciation for your volunteer force during the event. But every Executive Director, Board Member and staff person needs to say “Thank You” during the event. Volunteers notice.

Not train volunteers in advance. Do you let your volunteers guess or provide bad information to your guests? Do volunteers feel like they have no preparation? No idea what is going on? Volunteers need to be trained well in advance to prevent mishaps and confusion.

their volunteers’ experience and service. Or do you know 10 Undervalue which volunteers “make it happen” behind the scenes? Which volunteers are the “best face” of your event? Does your organization recognize longevity, hard work and great volunteer service?

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ADDING A NEW

Call it what you wish: 3D mapping, 3D projection or a variation of the two. The name can be confusing if you haven’t heard of it but the concept is really quite simple: an artist or artists create a 3 dimensional video to display on a 2 dimensional object. Until recently, this has been utilized most often in advertising but several examples were created for purely artistic purposes. 3D mapping is mostly enjoyed in large cities on the east and west coasts of the United States and throughout Europe. Using this technology, buildings can come to life and appear to move and twist, even fall apart and be rebuilt. Or, a completely different image can be played out on the building. This is not just simply projecting a movie or video onto a screen or building nor it is a laser light show. If you haven’t seen an example of this, Google “3D mapping,” where there are several inspiring videos. This art form can be added to festivals for several great reasons all with or without a specific product to promote. As a non-profit, any festival can create this programming to bring in a new sponsor or advertiser to create more revenue. As we all know, sponsorable assets can be hard to come by and 3D mapping creates a large and very attractive option. By 30

By Heather Pingry

TO YOUR FESTIVAL

securing several smaller sponsors or one to two large sponsors, you have not only covered the cost but added revenue to your bottom line…all without worrying about weather or day of event surprises! A sponsor will typically not only want their name tied to the project but to truly activate as well. This will not only increase your revenue directly, but also indirectly, as the project increases attendance. Since this art form is so unique, word will quickly spread and some people that might not otherwise attend your event will come just to experience this. If your event runs for multiple days, I would suggest slightly changing or lengthening the projection each time it is shown so that it incentivizes guests to keep coming back night after night. This is also a great chance for an event to engage a younger audience and give it a “cool” factor. Essential to the success of the project is hiring a 3D projection specialist. While most marketing/web design/sound production firms may be able to handle the logistics of the audio visual needs, measuring of building space, etc., an artist who is familiar with the software and has the artistic ability to create something that will blow your guests away is vital. Because this is such a unique medium, it is

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often difficult and can be cost-prohibitive to implement. One solution is to work with as many local sources as possible and then spend the money needed to pay the experienced artist. By using local sources of marketing/web design/sound production firms, you can reduce your cost by in-kind trade and sponsorship opportunities as well as reducing needed travel expenses for pre-event work and planning. Of course, if you have travel partners, ask for their help in paying for the artists’ airfare and providing transportation and lodging. Do be sure to have the artist on hand during installation and programming. As with any major undertaking, be sure to ask for references and to see examples of their previous work. The whole process will go much smoother if you have direct contact with this artist throughout the creation and execution. And, as with most budgeting considerations, be prepared for unexpected costs. Some might include extra shipping, electrical work, a structure to temporarily house the projectors, city/state/county permits, location use fees, etc. Before undertaking a new component of this size, you need to have several stakeholders involved and on board. Obviously, you would first need the support

of your Board of Directors and staff. This project takes an enormous amount of time and energy away from your typical duties but can definitely pay off. You need to have a plan in place ahead of time of what extra work will be required and who will be responsible for each aspect of the project. The artist, sponsor and festival all need to be in agreement with regards to content and who has final artistic control. Most sponsors will want to be recognized and included in the projection but it needs to be outlined from the start on what amount or what type of programming that will entail. If your event site spans a variety of public and private property, cooperation and an understanding of the project between all entities involved is a must. Most events that take place in an urban setting will be working with local government and private property owners/management and tenants. Affected tenants need to be notified in advance of any changes to their daily routine, i.e. will their windows be blocked, can they leave their office lights on to work in the evening, etc. The sound system provider has to ensure that there is compatibility between the computer, projector and sound system, as well as ensuring that there are adequate electrical needs for the additional equipment. Food vendors, artists and sponsors who have an on-site location near the projection area need to be made aware of the project and its schedule as well as any implications for them (temporarily turning off lights, etc.). The emcee will need to be prepared to announce each time it will be presented. Your festival security needs to know all the logistic details so they can plan for additional security as needed. Finally, you may need permits in addition to your event permit. Even if it is not required, be sure to notify the appropriate local agencies. For Tulsa International Mayfest’s 40th anniversary, we included a 3D projection, entitled “3D Muve Music Wonderwall, sponsored by Cricket Communications and produced by GuRuStu Group.” Our local web design firm GuRuStu Group was instrumental in this project. In addition, we used our local sound production company, Axiom Audio, to coordinate the logistics of light, sound, measurements, etc. GuRuStu Group donated their time and coordinated the hiring and supervising of the artist who had experience in 3D mapping. For our projection, we selected a building opposite from our main stage that was built in 1917 and has architectural interest. Our projection included the building dancing, twisting, windows breaking out and falling down. We also had some fun springtime aspects

like flowers growing and even had a thunderstorm in it, hoping that would substitute the much maligned rain we often get during Mayfest. It was our 40th anniversary and because of that, featured a birthday cake and an image of our poster art that unraveled like a flag on the building. It truly was awe-inspiring and each night the program length was increased to bring more to the show. While the bands were playing on the stage, the projectors were still in use to show the stage schedule, live twitter feeds, etc. It could also be used as another revenue generating tool as sponsors and others could advertise on it during the breaks. We had previously tried unsuccessfully to add a wireless sponsor to our event and found that this was the perfect opportunity. Cricket Communications was promoting their Muve Music phones and our audience was their target market. The projection occurred at night at our main festival stage area, so those watching were demographically inclined to be interested in music. Cricket was wonderful to work with and they really got the big picture of the fact that Mayfest is an arts festival, first and foremost. Their advertising portion of the projection was small, but significant to them, especially in their Oklahoma/Arkansas market. They wanted to promote the arts and not include any lengthy videos or advertisements for Cricket. They also activated by being onsite and informing attendees about Muve Music phones. At IFEA’s 2012 conference, we won a gold award in our budget category for best single new sponsorship program for this effort. Mayfest held a media/sponsor preview of the event because most people in our area are unsure of what 3D mapping exactly is. Because it was our first year, we could show them examples online, but it was difficult to show them what ours would look like. We didn’t receive as much pre-event media as we would have liked, but once guests saw the project on Thursday night, the word quickly spread. By Friday and Saturday nights, you could hardly walk through the viewing area. We’re looking forward to featuring this art form in 2013 and know that we can build on the buzz of our 2012 success. We were able to increase our sponsorship revenue as well as food and beverage sales this year, due in part to the increased interest and attendance. Perhaps most importantly is that Mayfest’s image was greatly improved. A 40-year old festival was able to tap into a new, younger audience, all the while amazing our typical festival–goer. If you would like to see Mayfest’s 3D Muve Music Wonderwall from 2012, visit the website by clicking here. Spring 2013

As festival and event staff or volunteers, you know the importance of evaluation and planning for improvements the following year. We had our showings scheduled at 9:15 PM, before our headline act went on stage for the night, then again at 11:00 PM, immediately following the band’s performance and our closing time. We are planning to adjust our schedule this year to show in the middle of the band’s performance instead of the end. It’s too difficult to keep the audience’s attention when they have been programmed to leave right when the last band finishes. So instead of hiring a band to perform one 90 minute set, we’re having them do two 45 minute sets, with a 15 minute break in between. Also, we knew what time the sun set during those days, but didn’t realize that it still wasn’t dark enough for the projection to be bright enough to make an impact. Luckily, we discovered this during our tests leading up to the festival, but had to change all of our times we had published. Also, although we had meetings with individual stakeholders, several components did not come together until the last minute which did not allow us to gather all stakeholders on a regular basis. If I could give one tip on how to make this successful from the beginning, it is to bring EVERYONE who has any type of involvement into the room together from conception through execution phases and to start as early as possible in your planning And, best of luck. 3D mapping might not be a good fit for every situation, but many events, art festivals especially, can benefit greatly from this new art form. I think you’ll find it’s really worth the effort. Heather Pingry is Executive Director of Tulsa International Mayfest. 2013 will mark the 41st Mayfest, which is a free community event featuring the best in visual and performing arts. Pingry is a Leadership Tulsa Class 39 Graduate. She currently serves on the Board of Directors for Leadership Tulsa and is Vice President of the Flagship Program Planning Committee. Pingry was a founding member of Tulsa’s Young Professionals, where she co-chaired/chaired the Marketing Crew from 2005 – 2007. She is a member of International Festivals & Events Association and Tulsa’s Deco District. Pingry holds a Bachelor of Arts degree in French and a minor in business administration from the University of Oklahoma. She and her husband, Stephen, who is a photojournalist at the Tulsa World, reside in Tulsa with their daughter, Claire.

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IMPLEMENTING SECURITY PLANS AT YOUR FESTIVAL

By Mary Margaret Satterfield

Event planners are constantly being reminded during conferences, webinars, and peer-to-peer networking opportunities the importance of a written security or emergency plan. Bottom line - everyone should have one. Whether the plan is simple and defers to local emergency personnel or it is complex with several community agencies assisting, a written plan is essential to the success and overall safety of the festival and event management industry. Written plans usually include a variety of working pieces, however, below are a few common practice documents: • Emergency contact sheet 32

• Declaration of who has overall command during an emergency or crisis • A crisis communication plan for the public, volunteers and media • Incident procedures for various types of emergencies. Inclement Weather Plan A written security plan is just that – a written security plan – if it is not followed as you have outlined. If something went horribly wrong would your event team be prepared to react? We all hope so, but there are several ways that the event leader can ensure the festival and those who are associated with the festival are prepared. One way is to im-

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plement a version of the government’s Incident Command System (ICS) and adapt it to meet the festival’s needs. Three years ago, the Toad Suck Daze festival in Conway, Arkansas adopted this procedure which has proven to be the best plan the leadership could have ever put into place. ICS is a standardized, on-scene approach that allows for the integration of personnel, communication and procedures operating throughout the festival. Responses are coordinated with various jurisdictions and agencies that establish a common process for planning. ICS has been developed to enable managers the opportunity to identify

Add Chart from Word Doc key concerns without losing focus on other components of the system. This system represents organizational best practices. Best of all, ICS is flexible. It can be molded and changed to fit the specific needs of any festival or incident. Regardless of the size of the event, personnel from a variety of agencies or areas can rapidly assimilate into a common management system that provides support to operational staff. ICS is typically structured to facilitate activities in five major areas: Command, Operations, Planning, Logistics and Finance. Each of these areas are led by an Incident Management Team (IMT). This is a comprehensive team that assists ongoing needs throughout the event and has the capability of transitioning to a management function in the event of an emergency. IMT is comprised of a commander, general staff members and support personal. Key members of your event team as well as community leaders and security staff should be organized into the overall structure. Once in place the IMT is responsible for the event and the response to all incidents during the entirety of the event. As a part of this, each member has a pre-designated role within the IMT that coincides with one of the five major ICS areas. The Toad Suck Daze festival has structured a system where the Chamber CEO is the Incident Commander. The Festival Chairman and Festival Director are co-operations. The Festival Co-Chairman and Chamber Executive Vice President are co-logistics. The Festival Treasurer and Chamber CFO are co-finance and Festival Secretary and Chamber Vice President are co-planning. The county emergency manager acts as security. Once the management team is in place, the festival should be broken down into the five components previously mentioned. This can be done by area, subcommittee, or as it will best fit your festival. Breakup the festival into smaller groups, affording each person on the IMT between three and five people that they are responsible for disseminating information and only one that they need to take information back up to. As information flows down the ICS chain, this will repeat throughout the festival.

Below is a chart of how that flow works for the Toad Suck Daze festival. While the ICS is designed for emergency procedures keeping the IMT involved during the entire event is critical for the festival’s success of fast mobilization. To ensure both the ICS and IMT are mutually compatible, set meetings during the event. The necessity of planning meetings leading up to an event are critical, but by continuing planning meetings once or twice a day during the event, the entire team remains aware of developing situations and possible future problems. Next, to keep your IMT involved, make sure the command center is constantly operating. It is important that the command center is not on the actual festival grounds, but is slightly off or on the edge of the location. This will give the command the opportunity to view the festival from the outside. Having at least two to three people that can make decisions and be able to call the entire IMT team back together in a moment’s notice helps to ensure the process runs efficiently. The next step you should consider is educating all committee members and volunteers as to their part in the plan. These volunteers should know who they report to and who they will get instructions from. This helps alleviate confusion in the case of an emergency. Training is an optimal way to educate, but you can also reinforce the plan on their event badges or paperwork they keep. For those with a larger role in the ICS, more training is involved, especially the first year a program is implemented. Not only should your volunteers be educated make sure your local city services know the system. This collaboration aids in response time and emergency preparedness. Lastly, make sure your written security plan follows the ICS structure. The Columbus Arts Festival’s written security plan outlines the specifics of their Emergency Services Team, which is very similar to the IMT. By including this in their written plan, it insures that this structure will continue and provide the correct emergency action to all situations that may arise. In 2010, the Toad Suck Daze festival learned just how important a security plan and ICS really was. When it was Spring 2013

made clear that inclement weather in the form of severe storms and tornados would develop, the IMT and key city emergency personnel enacted the emergency plan. In just 30 minutes, IMT was able to quickly and efficiently do the following: close all ticket, volunteer, and drink booths; inform over 200 vendors to securely shutdown; close all attractions and amusements; inform the attendees via loud speaker of incoming weather and areas of shelter; and secure three additional severe weather locations for overflow. Because of ICS, which Toad Suck Daze had put in place just a year earlier, the festival was shut down and the estimated 75,000 attendees that were onsite at that time, had either enough time to leave or find shelter. There were no reported injuries or loss of attendees. After the inclement weather passed, the same procedure was used to re-open the festival for the remainder of the evening, in under fifteen minutes. It became clear 3 years ago what all the fuss centering around building a security plan really was. Luckily the Toad Suck Daze festival and its leadership were prepared. By implementing the ICS structure into the festival, Toad Suck Daze has been able to streamline its response to emergency and non-emergency situations. Ensuring that you have a great security plan in place is important to event management, but making sure your written plan can be implemented is critical. Building an Incident Command System, or similar version, and implementing it into your festival procedure is an easy and efficient way to do this.

Mary Margaret Satterfield has been the director of events for the Conway Area Chamber of Commerce in Conway, Arkansas for 11 years. She is responsible for executing major Chamber events including the annual Toad Suck Daze Festival. Toad Suck Daze is one of Arkansas’ largest and most awarded festivals. Satterfield serves on the Arkansas Festival and Event Association Board of Directors, Arkansas Travel Council, Faulkner County Fair Board and Volunteer Conway Committee.

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Smart Phones

How to Make them Smarter at Your Event By Greg Flakus

Over the past three years, we have worked with a large music festival, the Oregon Brew Fest in Portland Oregon, and two arenas on projects that utilized the mobile phone to engage attendees while at the event or venue. We have heard from many events about how they might get into offering more than just a basic mobile application that duplicates the web site or provides a map of the grounds. 34

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Through our experience we have found that there are three different objectives that an event should consider when working on making the smart phone part of the attendee experience. Each has its own goals and have increased software development and costs as you build the application. This article will review the three different types of mobile phone applications available. Basic Application The Basic Application is an entry level application that allows you to duplicate your website, and perhaps show a map of the grounds on the mobile phone like on the printed program. Most events have moved to create some kind of application around this objective. The main goal is to allow the phone to become an information source for the attendee, with no extended features such as sharing with their friends, entering contests via the phone or buying food and merchandise etc. The application makes no effort to capture user information when attendees enter the site, and at best can track the number of users that went to the opening screen and visited the site. Advanced Application This application takes the basic application and adds the ability for attendees to interact with the event and its sponsors. The App creates ways that by using their phone, attendees can scan QR codes (Quick Response Codes) and be offered entries to win something at the event and provide information that can enhance their experience at the venue or event that day. Attendees can also get more information about specific vendors in addition to other things that perhaps cannot be placed in the printed program due to space or other limitations, including links to videos and other offers. At the same time, codes can be created that also allow you to take an attendee to a sponsor’s web page and even offer instant coupons that can be redeemed at the sponsor’s retail locations when the attendee leaves the event. The event and the merchant can track the number of redemptions and can even offer a different discount for each day of the festival. This application can also create a “tour the event” application where attendees use their phone to visit designated food, beverage and merchandise locations. The application keeps track of the tour stops. When attendees have visited all of the locations on the “tour” they come to a festival location and receive a prize and perhaps are even entered into a grand prize drawing. This can be helpful to an event as a feature they can offer to potential vendors for the event.

Data Gathering and Social Media Application The emerging trend in applications is to use them to allow your attendees to be recognized while on site and be given chances to win instant prizes and upgrades while present in real time. There is no more need to set up a ten by ten tent, have entry blanks printed up and ask attendees to take the time to fill out the entry forms. With one click of their phone on a QR Code, attendees can be taken to a landing page right on the phone that allows them to enter a specific drawing. And the best part is the event is able to capture the attendee’s information as soon as they enter it, information that can include such valuable data such as: name, address, email, age in addition to asking a few questions such as: Did you attend last year? How many came with you today? How long has it been since your last car purchase? Did you purchase any wine in the past month? What is your preferred wine type (red or white)? When was the last time you traveled more than 500 miles for a vacation? Depending on the level of programming involved in creating the application, the amount of data you are able to capture is endless. Once the attendee enters their data, it is sent to a spreadsheet that your event or venue has access to in real time. You can reward attendees for entering instant prizes straightaway with such items as upgraded VIP seating at a music festival; a family ride pack, or tickets to an upcoming concert. At a recent beer fest, winners were able to access the VIP area where special one day only beers were being tapped and served. Another feature that can be programmed into this application is the ability to share this instant win news with friends on Facebook. Once the entry has been shared on Facebook, the application is able to capture any friend that views the information and their Facebook details, in real time. This link can be tied to a sponsor’s event area. For example, if you had PetSmart as a sponsor of your event, the Facebook sharing could also direct them to special offers for attendees at the PetSmart location at the event. All this can be done without the need for printing, sorting and checking the entry forms to make sure all the information has been filled out completely, and then placed into a spreadsheet that is created for your access via a password that is unique to your event. The Bottom Line At many of the conventions we attend, all of the venues and events are asking one question: Where is the RETURN ON INVESTMENT? This is the same as asking ‘how do we monetize this at our event?’ How will your investment in a mobile Spring 2013

phone application help drive more revenues? Below are three specific examples of how this can be done: • Vendor promotion on the phone via what are called push promotions: This allows you to contact vendors before your event and ask them if they want to be included as part of your mobile texting push promotion. For a daily fee or event fee, you will give them a certain number of text push messages. • Tie in with sponsors to co-promote their retail outlets: This can be done via your mobile phone contest by sharing the attendee information with the Sponsor. • Instant win sponsor: Tie in with one sponsor to pay for the instant win on-site promotion. The contest can be set up in a way that when the instant winners are notified on their phone, they have to visit the specific sponsor’s tent or location to get their prize. You can set this to be done at random, a certain number per hour, or until a specific number is reached. This also gives your sponsor the ability to get added activation at the event, with samples or other merchandise. Before you jump into the world of mobile applications for your festival or venue, be sure to research other events in your area that have gone mobile and find out what level of application they are doing, from the basic up to the data gathering and social media. The ability to interact with customers in a retail store on their mobile phone increases the likelihood of them taking action and making a purchase by 67% according to a recent study. There’s no question that it is a positive step to take to create a mobile application for your event. You just need to determine what level is right for you, your event and your budget. Greg Flakus is the President of GF Strategies, based in Vancouver, Washington. Since 1993, the company has worked with festivals, fairgrounds, arenas and stadiums to develop strategies that will increase revenues from food, beverage and merchandise sales. He was a founding member of the Washington Festivals and Events Association. If you would like to learn more about the platform we have available for use at your venue or event, contact us at +1-360-573-7027 or greg@gfstrategies.com. You can also visit our web site www.gfstrategies.com

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Procrastinate Later! By Gail Lowney Alofsin

Let’s face it, your life is very busy and in some cases may border on overload.

“You cannot escape the responsibility of tomorrow by evading it today.” Abraham Lincoln (1809–1865) 16th President of the United States 36

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age to set a timer. She would advise us to set it for twenty minutes and start the homework assignment. After twenty minutes, we could set it again and continue on that assignment or take a break. This evolved into a positive habit. Whether it is a proposal at work or cleaning at home, setting a twenty minute timer is a great motivator. Once it rings, you set it for another twenty minutes, and another. Time stops for no one, and procrastination results in wasted time that you will not get back. Are you serious about eliminating procrastination in your life or at least for your next project? If so, let me offer you a few success tips so you can free up time in your life to do the things you derive the most joy from. You have performance reviews to write, events to organize, vendors to contact, invoices to submit and yikes, you are on deadline for brochure edits and content with your marketing department. Couple this with laundry at home, the doctor’s appointment you keep rescheduling and your list of projects that keep being moved to the back burner. “I’ll get to it later,” “I am not in the mood,” “I work best under pressure,” “I am the only one who can do that project” - does this sound familiar? The reality is, most people procrastinate. Why do we procrastinate? In some cases, the project or assignment may seem too big, unexciting or mundane. In other cases, we are spending our time on immediate projects and fire drills that have to get done – NOW! Driving in the car with my son Samuel a few years ago, I was discussing a project I found overwhelming yet had no choice but to complete. He simply stated, “Mom, just start. Nothing begins until you start.” I posted these very simple words next to my computer as a daily reminder. Starting does not have to be difficult. One of the things I find motivating is to listen to an upbeat song like David Gray’s Babylon, and jam to the words, “If you want it, go get it, for crying out loud.” Your spirit will always be lifted with a joyful song. Dance at your desk or around your living room for a minute and you will have the inspiration and the energy to begin. My eighth grade teacher who is one of my best friends taught us at an early

Identify the source of procrastination. Is it fear, boredom, laziness? Once you know what your challenge is, sit down and address it. If it is fear, ask yourself why you are afraid to start. Think positively, you can do it. Talk to a friend or colleague and ask them for a few suggestions in getting started. You will feel less alone enlisting the advice of others. If you are bored, it is up to you to create a project, event or activity that will be exciting. Again, enlist the assistance of a creative friend and write down their advice. If you are lazy, get up and get out! Go for a walk, go to the gym or stand up and do ten jumping jacks. You will have a rush of adrenalin. Capture this rush, sit down, and begin.

Make a list. Once you set your project or goal on paper, whether in a word or excel format, you can list all of the items that you have to do to accomplish this goal. If the project is new, write down the items you know you have to get done. Next, find information on the Internet or through a friend or professional who has done it before and ask them if they have any advice. Next, post the list where you can see it every day and write deadline dates, where appropriate, by each action item.

Eat A Frog For Breakfast! Author Mark Twain proclaimed, “If you eat a frog for breakfast, it will probably be the worse thing you do all day.” Eating a frog involves doing your toughest task or Spring 2013

tasks first. Once you have done this, you have confidence and energy to tackle the tadpoles. So often, we walk around with a “to do” list, checking off the easiest items first. However, that big toad of a project is looming. Do your best to sit down and attempt to eat it for at least for twenty minutes, and see how you do. Ribbit!

Unplug! Yes, put the iPhone, iPad and computer away. If you have to check it, check in once an hour or three times a day. Beware of getting caught in an email vortex and answering your email all day long, especially prolonged discussions. Are you an executive or a receptionist?

Know that you can do it. The minute you doubt yourself, others will question your ability as well. Stand tall and know that you can accomplish anything you set your mind to! When you overcome procrastination, the outcome is peace of mind, empowerment, completion and time to spend on the things that bring your happiness. In closing, stop and ask yourself – what is truly holding you back? Be honest with yourself. If you are capable, interested, and have access to resources, then sit down, make your “to accomplish” list and begin. Keep your mindset positive with the mantra “I will get it done.” Watch your energy surge to an unstoppable level – what are you waiting for? As the Director of Corporate Partnerships for Newport Harbor Corporation in Newport, RI, Gail oversees the sponsorship and experiential marketing department of Newport Harbor Corporation – focused on the Newport Waterfront Events and Newport Yachting Center venue. Drawing on over two decades in the event marketing industry and an expert in the realm of work/life integration, Gail Lowney Alofsin shares her passion and best practices for time management, sales, marketing, customer service and leadership through her educational and inspirational seminars. Visit www.gailspeaks.com, email gailalofsin@yahoo.com or call 401-640-4418 for more information.

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IFEAâ&#x20AC;&#x2122;s ie: the business of international events

Spring 2013

By Amer Meknas

One of the goals of any event is to maximize the number of attendees. With immigration changing the face of the US, Canada, and many European nations, event organizers and municipalities are now faced with the challenge of attracting new communities to their festivals. Cultural festivals attract tens or in some cases hundreds of thousands of attendees that may not attend mainstream events. These are not festivals and events that achieved mainstream acceptance, such as the Caribbean Carnival Toronto or Masala! Mehndi! Masti!, but rather ethnocentric festivals that cater specifically to their communities such as Ontario’s MuslimFest (25,000) Arab American Festival in Phoenix (35,000), and <Insert Country of Origin here> Independence Day Celebrations (15,000+). It is important to recognize these communities’ heritage, as Arab, Pakistani, Chinese, etc. in addition to being American or Canadian. Standard marketing tools do reach a large segment of these communities, but many would choose not to attend. There are many factors that influence such a decision with the most important being programming. There are also some marketing avenues and tips in the second part of this article. These are mere suggestions and different communities may respond differently, but they should be applicable to most campaigns of this kind. Programming If the specific community is not compatible with your programming, that is to say, that they are too conservative, or too traditional, or too liberal, then no matter how much money you spend on marketing to that community, they would never attend your event. This is not to suggest that you should drastically change your event to cater to these communities, but rather implement small changes that would alter their perception of your event. This could be the difference between attracting them to the event and losing them forever. Let’s take main stage performances as an example. Some people from more conservative communities might not be comfortable with some types of dance or the profanity/nudity level in certain performances. New members

DEMOGRAPHICS: How to Attract Members of Visible Minorities Spring 2013

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of the community may not speak English and feel alienated at a language heavy festival or event. Some genres of music may be completely foreign to certain communities. To counteract these problems, it is best to design all your shows and activities with accessibility in mind. If certain constraints are present, then arrange for alternative programming that compensate for them, such as cultural dances, family-friendly activities, a drumming circle, a graffiti art demonstration, etc. during performances that might not be for everyone. 40

For example, MuslimFest, an art, entertainment, and culture festival, caters to the varying spectrum of scholarly opinions in the community with regards to art and entertainment. A significant number of the Muslim community believe that certain types of performance and visual arts are prohibited or disliked. While the attitude of some groups might be to ignore them and just do what the majority of the people like, but that would mean losing those community members not only as attendees but also as sponsors,

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vendors, and supporters. To accommodate these groups, MuslimFest organizers dedicate a part of their programing to fit their guidelines (such as no musical instruments on stage) and advertise it to those specific groups while running a parallel marketing campaign which highlights the remainder of our festival. Festivals and events with more diverse cultural programming tend to do things differently. Let’s say your county fair board wants to feature a pavilion from different cultures in the area or your art and entertainment festival has a Latin Dance theme next year. It would be crucial that members of these communities are involved from the beginning. “It is all about making them feel part of the process,” Brad Lepp from Luminato - Toronto says. “It is not a one off but rather a long term partnership.” Luminato is North America’s premier Festival of Art and Creativity. The Luminato-Way, as Brad explains it, engages members of such communities as ambassadors and idea shapers, not just as figureheads. Community members are invited to town hall meetings to provide input on which artists to invite, how to present them and when to host them. These ambassadors then invite their communities to the program because of their investment and ownership in the festival. Festivals that are built around having different cultures represented engage communities at a more core level. Carassauga, an annual multicultural festival in Mississauga (Greater Toronto Area, Ontario, Canada) uses an incentive model whereby communities host their own pavilions and generate revenues through the sale of discounted tickets at full face value. Pavilion organizers are responsible for booking artists and cultural performers with supervision and support from the festival organizers. This is a great way to get cultural programming at the festival and engaging different communities themselves in the planning and organization of the event. How do you translate this into your festival? Art festivals can invite performers, writers, speakers, and visual artists who have both mainstream and ethnic appeal, and advertise these shows/guests, not the whole event, to the target community groups. For example many art festivals now host Arabic poetry nights, Chinese lion dancers, Urdu Mushaira, Sri Lankan Ves dance, Lebanese Debke dance, etc. When these communities hear that their culture will be represented in your festival, they will want to be part of it. Other Factors There are other reasons why some communities would choose not to attend your next event. A friend of mine, who or-

ganizes the local Rib Fest, a BBQ competition/festival with food and entertainment which raises money for local charities, has inquired many times as to why they don’t see members of the South Asian community at their festival. The simple answer is that with a festival that is focused mainly on food (ribs in this case), members from the South Asian community would not be able to participate in a substantial part of the event due to ethnic or religious dietary requirements (vegan, vegetarian, halal, or kosher). Food is a huge part of any festival and if a member of these communities is attending a festival with their kids and they have to keep telling them that they can’t eat this and they can’t eat that, they’d save themselves the trouble and take them somewhere else. For this reason, accommodating special dietary needs eliminates yet another barrier for such communities’ participation in your festival. Cost also matters. Certain ethnic communities tend to have families larger than the average. A family of 5 or 6 is the norm amongst Middle Eastern or South Asian families in comparison to 3 for other families in Canada. It is not enough to offer a free event anymore. Free events must offer value for the money in other ways; reasonable food, beverage and kids ride prices and cheap or free parking, for example. Ticketed events should offer family passes or group discounts (3 is not a group!). With the struggling economy, it needs to be an unbelievable deal or attendees will download a movie and stay in! Depending on the festival or event, there may be other factors that influence members of visible minorities’ decision in attending. For example, the presence

of alcohol may deter certain groups from even considering the event. The date when the event is being held could conflict with religious or cultural celebrations. World news such as wars, revolutions, and natural disasters back home may make afflicted communities reconsider attending an event or a festival. Marketing Once you deal with the programming challenges mentioned above, you can customize the marketing efforts to target those communities. The majority of the ideas below revolve around community

partnerships and require some time and effort. However, the rewards are truly worth the results achieved, which often is much more than just adding numbers to your attendee counter. Ethnic marketing - there is the easy way and then there is the better way. You can always do some media buys. To achieve better understanding of targeted communities, events should look to community partners and to diversifying their marketing teams. Here are a few pointers in more details: • Ethnic Media Buys: The first thing that comes to mind when trying to target ethnic communities is media purchasing (newspaper, television, radio). Depending on the target demographic you are trying to attract, one medium might be more applicable than another. When placing an ad in an ethnic medium, festivals and events are usually faced with the question: to translate or not to translate? While translating your ad could give you access to an older more cultured crowd, it may dilute your brand and introduce inconsistencies with your other marketing campaigns. Simple ads can be translated directly; others would have to be recreated from scratch or trans-created for that specific language or cultural group. Don’t fall for a marketing company’s claim that they have a good translator in-house. Even the best translator may not be able to translate your concept to another language if it is not compatible with that culture. Many ethnic grocery stores tend to carry community newspapers which means that you may attract a more cultured or even an older crowd. This

is not strange to the medium itself as even mainstream newspapers tend to cater to such demographics. Additionally, many of these newspapers are distributed at places of worship such as mosques and temples, and so you may also attract a more religious crowd as well. One challenge with ethnic newspapers is that they don’t always have certified circulation numbers, so many exaggerate their market reach, Radio also tends to have older demographics and most multi-cultural stations are not rated in the markets I researched. Again many would exaggerate their numbers or use the market reach of their host radio stations which may not be representative of their specific cultural segment. So, how can you best use such media outlets? Provide them with relevant content. Many of these media outlets don’t separate the editorial from their advertisement sales department which means you will be able to get some great exposure by pairing some content with your advertising. For newspapers, think of providing them with articles featuring volunteers, artists, or businesses from their community that are participating in your festival or event. For radio and television, think of arranging interviews with artists or volunteers of your festival. While you may find yourself pressured into buying some advertising, you will spend significantly less and gain much more exposure. • Online and Social Media: Many communities have online portals and regular newsletters that go to members of their community. This is usually a good place to advertise but make sure you track click-through to assess viability for future campaign as in many cases visitor numbers are also exaggerated. In the world of social media, demographic targeting is easier than ever. Social media allows events to target people by interest, ethnicity, age, location, and even what brand of cellphone they use. Paid advertising on Facebook for example is based on locations and keywords. The key to targeting specific demographics is to use keywords that they identify with. For example, if you are an art and entertainment festival wanting to attract more attendees from the South Asian community, you can use Pakistan and a Pakistani artist name as keywords for your campaign. If you have engaged some artists or some cultural presentations in your programming, then use those as keywords as well. You can also leverage unpaid social media marketing by partnering with community groups with large social media presence. Running campaigns 42

in partnership with such groups is more effective. You can offer backstage passes, artist meet-and-greet sessions, or any other incentive for your partners to run social media campaigns on your behalf in their communities. Make sure you consult them to ensure that the incentive is something that would interest their community. • Community gatherings as a marketing avenue: When you are trying to reach out to a specific demographic, you want to reach out to the largest number possible at the lowest possible cost to your human and financial resources. Members of the Muslim community for example have their weekly Friday prayer and sermon. Depending on the size of the mosque in your area, some may host a congregation of a few thousands per sermon and some locations run multiple sermons to accommodate for work schedules. Building relationships with your local cultural and religious leaders and convincing them why their members should be at your festival is the first step to accessing that community. Distributing marketing materials after these gatherings, with permission, and making announcements at the end of their program delivers your message to a large number of attentive attendees. This is not restricted to religious gatherings only. Events can have presence at other events in the form of sponsored programming or even a marketing booth. The CNE (Canadian National Exhibition) in Toronto sends their mascot to specific ethnic events with giveaways and free passes for kids to attract specific demographics to their park. The 2015 Pan Am games marketing committee has been present at many cultural festivals to raise awareness about their activities and events. • Community Partnerships: The mistake that many organizations fall into when reaching out to community groups is that they tend to use them at the time of their event and then forget about them completely. The following year such groups feel no need to help these organizations with their events. Fostering partnerships don’t have to be an elaborate process. Festivals and events can call town hall meetings once or twice a year at which program ideas and potential marketing avenues are discussed. At the end of those meetings, get attendees to sign up for an email newsletter or an email group where ideas can be discussed in more details. Then regularly invite members to contribute ideas on programming and marketing and what resources they can share within their own communities.

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Maintaining this relationship can foster more than increased number of attendees but rather could lead to diversifying your volunteer and sponsor base. When members of a community feel invested in an event because they contributed ideas to the programming side of things, they will feel passionate about marketing that event and spreading the word about it to members of their communities. • Diversify your marketing team: For some organizations, creating partnerships might require more resources than the organization can manage. If that’s the case, then adding members of communities you wish to target to your marketing team can be the next best thing. Such individuals would have an insight on community publications and media outlets. They can also help you verify translations to ensure your brand consistency and negotiate on your behalf with media outlets. Launching a call for volunteers in specific communities can be achieved using any of the other marketing avenues mentioned above (Social media, community gatherings, etc.). To conclude, reaching out to members of other communities is mostly common sense marketing. The barrier tends to be that festivals and events don’t know much about those communities to be able to encourage them to attend. It is only through the right partnerships that festivals and events can reach out to the maximum number of people from those communities. Remember, they are still American or Canadian, but they need that extra nudge to feel included in your festivals and events. It is not only about numbers, but rather creating a conversation with that community that would result in increased participation from their members as attendees, volunteers, artists, and even sponsors. Amer Meknas has been active in the festival and event industry for over a decade. He took on MuslimFest in 2007 as Event Director and grew the small cultural festival to North America’s largest Muslim art, entertainment and culture extravaganza attracting over 28,000 attendees in 2012. Amer is consulted regularly by community events and festivals in the United States, Canada, the UK, and the Middle East. He currently works at Festive Current, an event management and marketing firm. Amer can be reached by email at amer@festivecurrent.com

2013 IFEA / Haas & Wilkerson

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

ach year, the International Festivals & Events Association recognizes outstanding accomplishments and top quality creative, promotional, operational and community outreach programs and materials produced by festivals and events around the world, with the Haas & Wilkerson Pinnacle Awards Competition. This prestigious awards competition strives for the highest degree of excellence in festival and event promotions and operations, and in doing so, has raised the standards and quality of the festivals & events industry to new levels. From events large or small, cities, festivals, chambers, universities, parks & recreation departments, vendors & suppliers, and everything in between, events and promotions of nearly every type and size will have the opportunity to be recognized, as entries are categorized into organizations with similar sized budgets. From best Event Poster, T-Shirt, Hat, Promotional Brochure, Website, TV Promotion and Social Media site to best Volunteer Program, Green Program, Sponsor Follow-Up Report and Media Relations Campaign, there’s a place for almost every element of your event to be recognized. The IFEA / Haas & Wilkerson Pinnacle Awards have provided many outstanding examples of how event producers can use innovation and creativity to achieve a higher level of success. One of the goals of the IFEA is to promote the professionalism of our members and the festivals and events industry as a whole. Therefore, to add further impact to the winning organizations, the IFEA will provide your organization with a press release template for you to distribute to your media list explaining the award and the competition. Your organization will be recognized for taking part in raising the level of professionalism throughout the industry, while at the same time improving your community. So what are you waiting for, gather your items, fill out the entry form, and send them off to be judged against the best of the best, in the festivals and events industry. Then get ready to hear your organization’s name announced at the 58th Annual IFEA Convention & Expo, Date & Location TBA. Spring 2013

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THE CONTEST DEADLINES • EARLY BIRD ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JUNE 17, 2013 ❍ Entries received on or prior to June 17, 2013 will receive the Member early bird rate of $30 per entry or $50 per Grand Pinnacle entry or the Non-Member early bird rate of $60 per entry or $100 per Grand Pinnacle entry depending on IFEA Membership status. • FINAL ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JULY 15, 2013 ❍ Entries received between Tuesday, June 18, 2013 and Monday, July 15, 2013 will receive the Member final entry rate of $35 per entry or $60 per Grand Pinnacle entry; or the Non-Member final entry rate of $75 per entry or $150 per Grand Pinnacle entry depending on IFEA Membership status. ELIGIBILITY • Entries must have been produced and / or used for the first time between July 16, 2012 and July 15, 2013. • Entries must be submitted in their original format unless previously approved. For Questions Contact: Nia Hovde, nia@ifea.com. • Payment in full must be received with entries for entries to be deemed eligible. • Entries and entry forms must be submitted in English. • Font size for any written text must not be smaller than 10pt. • To receive the member rate for Pinnacle entries you must be an IFEA member in good standing. • Each entry form submitted must be completed in its entirety in order for items to be judged eligible. IMPORTANT NOTES • Items submitted are NOT able to be returned. • Judges will not refer to items in other categories, nor will they transfer items already judged in other categories (the number of entries must equal the number of categories entered). • A separate entry form must be submitted for each entry (copy as necessary). • Multiple entries or categories on a single form will not be accepted. • For all entries, please paper clip/bull clip entry form to item. Please do not glue or tape form to item. • Multiple entries within the same notebook / bound format will not be accepted. Please separate entries. • Entries required to be submitted in a “notebook” (Categories 1, 38-68) means that the entry should be submitted in some sort of bound format in order to keep all the materials together. For example, a 3 ring binder; spiral bound; in a report cover or a bound publication with hard/soft covers. Please do not staple or paper clip your entries together. • UPDATED: For entries required to also be submitted on a disk / thumb drive along with printed copy (Categories 1, 38-68), be sure to label each CD / thumb drive and attach to notebook at front of entry. Submit entry as one (1) pdf or Word doc file. It is also okay to submit copies of all entries on one (1) disk or thumb drive and attach to payment form (instead of one (1) disk/thumb drive for each.) Printed copy must still be present. • When submitting your total entries, please also submit a high resolution copy of your organization or event logo. Please email to nia@ifea.com – subject “Logo for 2013 Pinnacle Entry – and your event/organization name.” • Please consider the processing of your credit card or the cashing of your check for your Pinnacle entries, notice that your entries were received and processed. A HOW TO GUIDE • All categories are listed on the left side of each page • Entry information required for each category is listed under the specific category on the left (if applicable). This information is unique to that specific category. 44

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• Any supporting questions and supporting material requirements needed for each category or group of categories, is listed on the right side of each page (if applicable.) THE JUDGES The judges are recognized professionals in the areas of graphic design, promotions and public relations; broadcast, print and online media; and special event planning and management. SCORING SYSTEM • Categories 1, 38-68 will be judged using a point system for each individual entry. Each entry is scored separately. Scores will not be combined. • A possible total of 100 points may be awarded to each entry. • Be sure to answer and include all necessary information for each entry. • If a required element within an entry is not applicable to your event, please state so within your entry to avoid being marked down on points or indicate what element you have instead. • The scoring system is not applicable to TV, Radio, Multimedia, Print & some Merchandising categories. • We are unable to provide you with the points awarded for each of your entries. • Failure to meet all requirements or answer / provide all necessary information will result in a deduction of points. THE WINNERS • All finalists for the IFEA / Haas & Wilkerson Pinnacle Awards will be notified by email the 3rd week of August, 2013. Notification will go to the primary IFEA Member in addition to the contact listed on the Awards entry form. • The 2013 IFEA / Haas & Wilkerson Pinnacle Award winners will be announced at the 58th Annual IFEA Convention & Expo, Date & Location TBA. • If you are not present at the Awards Presentation to accept your award(s), they will be mailed to you after the Annual Convention. Expect 3-4 weeks for delivery. If shipping costs for your award exceeds $15 USD, you will be sent an invoice for the shipping charges. • Organizations submitting entries for the Grand Pinnacle category must register at least one person for the 58th Annual IFEA Convention & Expo, Date & Location TBA or arrange for a representative to accept any award won on your behalf. • Gold winning entries will be on display during the 58th Annual IFEA Convention & Expo. • Winning entries will also be available to view at www.ifea.com shortly after the 58th Annual IFEA Convention & Expo. RELEASE & USAGE • By submitting your entry to the IFEA / Haas & Wilkerson Pinnacle Award Competition, you automatically grant the IFEA the right to use any materials and / or photos from your entries for editorial, analytical, promotional or any other purpose without additional compensation or permission. In addition, you acknowledge your entry/ies are not returnable. Your entry into the competition is acknowledgment of these terms. SHIP ENTRIES TO: IFEA Pinnacle Awards Competition International Festivals & Events Association 2603 W Eastover Terrace, Boise, ID 83706, USA Phone: +1-208-433-0950 ext: 3 • Please try to avoid using packing peanuts/popcorn when shipping your entry. • For packing tips, go to www.ifea.com and then Industry Awards / Pinnacle Awards / Packing Tips for Pinnacle Award Entries

FREQUENTLY ASKED QUESTIONS As you prepare your entries, you will have many questions. To help answer many of your questions, we have posted our most frequently asked questions on the IFEA website at www.ifea.com / Awards / Pinnacle Awards / Pinnacle Award FAQ’s, check back often as we’ll continue to post questions and answers as they come in. If you have any further questions about the IFEA/Haas & Wilkerson Pinnacle Awards, please contact Nia Hovde at +1-208-433-0950 Ext 3 or nia@ifea.com. Go to www.ifea.com to find answers to common questions such as: • When you ask for entries in the original format, what does that apply to? • What do you mean when you say, please provide entries in a ‘notebook’ or ‘bound format’? • For the more in depth entries (categories 1, 38-68) do I have to answer or provide information for all the criteria and requirements listed under the category? • Referring to the above question, what if something in a specific category that is required, either does not apply to our event, or we are unable to provide the information required. • Certain entries ask for budget information, however we aren’t able to reveal certain elements of that information as it is not public knowledge. How can I answer the required information if I’m not able to provide it? • On certain entries, it says we can only provide 5 examples of supporting materials . . . how can I possibly only provide 5 examples!? • Why do we need to provide certain entries on disk or thumb drive? • Referring to the above question, am I able to save all of the entries I’m submitting on one disk/thumb drive, instead of saving each individually? • Are we able to enter the same event into multiple categories? • Are we able to enter multiple items (that are different) in the same category, for the same event? • I’m not a member of the IFEA, am I still able to enter? • Can I pay for my entries via a wire transfer? • How are the Pinnacle Award Entries Judged? • Why do you not publish the points awarded for each entry in the list of winning entries? • Who judges the Pinnacle Entries? • Why aren’t we able to know the names of the judges? • It looks like there’s even more requirements for some categories . . what specifically do I need to answer for categories 1, 38-68? • For the above listed categories . . . what order should I list my entry in, in response to the requirements?

• For categories 1, 38-68, that require written information and are also required to be put into a ‘notebook’ or ‘bound format’ be sure to submit the information in that category in the order that it is asked so it’s easier for the judges to compare one entry to another. • When saving your entry to a disk or thumb drive to go along side your individual entry, be sure to save your entry as one document – instead of multiple documents. • When putting together categories 1, 38-68 that require a lot of work to create . . . if you have time, make 2 copies! What better way to keep a record of what you did each year not only at your event, but also for the next year’s Pinnacles! • Remember the eligibility period for the pinnacles. Entries must have been produced and/or used for the first time between July 16, 2012 and July 15, 2013. So if you produced an event during that time, or any materials for your event were produced during that time (even if the actual event was outside of that time frame) it’s eligible! • If you are required to write something for your entry, make sure it is well written and easy to read. • The more organized your entries are, the easier it is to understand your message. • With all entries, guide the judges to what you want them to see. Highlight the important parts. • Don’t overwhelm the judges with too much information. Summarize the statistics and only display your best footage/news clippings. Quantity is not always quality. • On categories 1, 38-68 (categories that have a lot of requirements), be sure to have someone that is not closely tied to your event read through your entry to see if everything makes sense. Sometimes you may be too close to your event and you may not include certain information, since it may be too obvious to you. But it may be a vital piece of information. If your entry makes sense to an outsider to your event, it should make sense to the judges. • Many of the judges may not know anything about your event, so make sure your explanations are clear enough so they feel like they have just attended/participated in your program. • Proof, Proof, Proof!! Yes, we do mark you down for typos! • When in doubt – ASK. If you’re not sure on something, please contact Nia Hovde +1-208-433-0950 ext: 3 or nia@ifea.com. QUESTIONS? • Contact: Nia Hovde, Director of Marketing & Communications at Phone: +1-208-433-0950 ext: 3 or Email: nia@ifea.com • For additional information and FAQ’s, go to www.ifea.com/ Industry Awards / Pinnacle Awards

TIPS AND POINTERS Never participated in the Pinnacle Awards Program before? Looking for some helpful tips and pointers on how to enter? Below are just a few tips to hopefully point you in the right direction. Be sure to also review the Pinnacle FAQ’s and the Pinnacle Packing Tips. • Start Early! • Don’t wait until the deadlines are almost here to get your entries submitted! If you have time to work on your entries early, do so and then get them in early! • We will start accepting entries as soon as you want to start sending them in! • Do not mount any of the merchandise on poster board/foam core/card board etc. It’s much easier for the judges to pick up, look at and perhaps try the items on, if they are standing alone. • Be sure to read and follow all the criteria and requirements for each entry. The criteria and requirements are always being updated, so be sure to review the changes before you start.

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THE GRAND PINNACLE 1) GRAND PINNACLE The Grand Pinnacle is the highest award given by the IFEA in recognition of those Festivals and Events* who have a balance of all the elements necessary to ensure a successful event. (*Of those events who enter and judged within each of the four separate budget categories.) ENTRY INFORMATION: For entry, please provide a detailed description to each section requested within: 1. Introductory Information 2. Additional Requirements 3. Supporting Materials 4. Supporting Questions • Submit entire Grand Pinnacle Entry within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as 1 (one) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on 1 (one) CD or thumb drive.) • Please submit your entry in the order listed here. • Points will be awarded to the individual sections of your entry, in addition to the overall Judges Criteria points. 1. Introductory Information: (10 points) Within a maximum of 4 pages (total), provide an overview of your event, stating your event’s: a. Event Dates b. Purpose / Mission c. History/Description of Event d. Types of Activities Included Under the Festival / Event Umbrella e. Overall Revenue and Expense Budget f. Estimated Economic Impact g. Attendance Numbers & Demographics h. Volunteer Count & Demographics i. Staffing Numbers and Positions j. Founding / Incorporation Date and Management System (i.e.: 501(c)3 non-profit staff & volunteer board; city managed; profit-making partnership, etc.) 2. Additional Requirements: (50 Points) Include a detailed overview of each of the sections listed below (a-e*) for your festival / event, using no more than two (2) pages for each section. • Make each section a separate tab in entry in order for the judges to clearly identify them. • If your festival/event does not include one or more of the sections listed below, please provide an overview as to why your event does not include that element, or what you provide instead, so as not to lose points. a. Promotional/Marketing Campaign & Media Outreach (Includes but not limited to: What was your overall message/ slogan/image that you projected for your event this year? What was your target population, who received the message, what types of mediums did you utilize and who promoted your message. ) b. Website / Social Media / Multi-Media Program /Campaign c. Overall Sponsorship Program (Provide an overview of your overall sponsorship program – how many sponsors, who are they and what do they sponsor and total sponsorship funds.) d. Critical Component Programs *Provide a one (1) page description on each of the following programs (if not applicable, please state as such and/or what your festival/event has in its place.) • Volunteer Program • Green Program 46

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• Educational Program • Children’s Program • Food & Beverage Program • Entertainment Program • Merchandise Program • Community Outreach Program • Emergency Preparedness Program e. Descriptions of any other Special Programs unique to your event. 3. Supporting Materials: (20 Points) • Please also include any necessary supporting materials for the festival/event - limiting materials to no more than 5 examples for each area in the 2.) Additional Requirements section (if applicable) (a-e). • Supporting materials may be placed within a specific section of the entry, or at the end. 4. Supporting Questions: (10 points) Please answer the following questions. (Maximum of 1 page per question) a. What did you do to update / change the event from the year before? Were your updates / changes successful? ❍ If the event is a new event, please answer the following question instead: • “What challenges / obstacles did you foresee / encounter in creating the event, and how did you handle them?” b. Please provide measurable results / examples for question (a). c. What makes the event stand out as an internationally recognized event? d. Why should the event win the IFEA / Haas & Wilkerson Grand Pinnacle Award? Judging Criteria: (10 points) The Grand Pinnacle Entry will be judged based on the following criteria. Please refer to the Entry Information for further details. The following Judging Criteria is applicable to both the individual entry and the overall event. • Is the entry / event well organized? • Is the content professional? • Is the message clear? • Is the entry / event designed and laid out well? • Is the event creative and / or unique? • Does the entry relay the image of the event? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Does the entry match the purpose / mission for the event? • Have all requirements been met? Additional Notes: • Be sure to answer and provide information for every section and area listed in the entry requirements. Failure to provide information for each section / element will result in a deduction of points. If a required element is not applicable to your event, please state as such and/or what your festival/event has in its place. • Display boards are no longer required with the Grand Pinnacle entry. Your entry will solely be judged on the contents of the notebook submission. • This entry is separate from all other categories and divisions. Judges will not refer to, or transfer items from other categories. • Organizations submitting entries for the Grand Pinnacle category must register at least one person for the 58th Annual IFEA Convention & Expo, Date & Location TBA or arrange for a representative to accept any award your behalf.

CATEGORIES TELEVISION & RADIO ENTRIES 2) BEST TV PROMOTION (Ad Spot or PSA)

3) BEST FULL LENGTH TV PROMOTION (Local Programming)

4) BEST FULL LENGTH TV PROGRAM (National Promotion / Syndication)

5) BEST EVENT VIDEO (For Sale)

6) BEST RADIO PROMOTION (Ad Spot or PSA)

ENTRY INFORMATION FOR CATEGORIES 2-7: • All TV/video entries should be encoded for Region 1 or Region 0 DVD capabilities. Submit entry on a DVD or Thumb Drive. Entry should be viewable in Windows Media Player or QuickTime. (Please do not submit Blu-Ray Disks.) • All Radio entries should be submitted on a CD or Thumb Drive (not a DVD) Entry should preferably be submitted as a wave file or MP3 file. • Label DVD / CD and attach entry form to case. • Only one video / radio spot per DVD/CD. • These are standalone items and no written information is required. • Make all DVD’s / CD’s set to Auto Play. Judging Criteria: • Does the entry relay the image of the event? • Is the item creative and / or unique? • Is the message clear? • Is the item organized? • What is the “Usability” factor? • What is the overall impression?

MULTIMEDIA ENTRIES 7) BEST EVENT WEBSITE

(Submit web address only – clearly print website address on entry form under section 3.)

8) BEST ORGANIZATION WEBSITE

(Submit web address only – clearly print website address on entry form under section 3.)

9) BEST EVENT / ORGANIZATION E-NEWSLETTER

(Submit three consecutive issues on a CD or thumb drive, or provide a link to download materials.)

10) BEST MISCELLANEOUS MULTIMEDIA

(Includes, but is not limited to items such as: Screen Savers, Live Web-casts, Electronic Billboards, etc. Submit in format used. Preferable method for Videos is a YouTube link. Only one multimedia item per entry.)

11) BEST SOCIAL MEDIA SITE

(Submit Social Media Site Address – clearly print address on entry form under section 3.)

12) BEST FESTIVAL / EVENT MOBILE APPLICATION (Submit web address or instructions on how to obtain the App, clearly print address on entry form under section 3.)

ENTRY INFORMATION FOR CATEGORIES 7-12: • For categories 7, 8, 11 & 12 site will be reviewed online by judges. • Be sure to make the website link go to exactly where you wish the judges to go first. • Refer to any additional entry information listed next to each category. • These are standalone items and no written information is required. Judging Criteria: • Does the entry / item relay the image of the event? • Is the item creative and / or unique? • Is the message clear? • Is the entry / item organized? • What is the “Usability” factor? • What is the overall impression?

CATEGORIES PROMOTIONAL PRINTED ENTRIES 13) BEST EVENT PROGRAM 14) BEST NEWSPAPER INSERT / SUPPLEMENT 15) BEST PROMOTIONAL BROCHURE 16) BEST EVENT / ORGANIZATION NEWSLETTER (Submit three consecutive issues.)

17) BEST MISCELLANEOUS PRINTED MATERIALS (MULTIPLE PAGE)

(Includes but not limited to: direct mail brochures, cookbooks, annual reports, etc. - One item per entry.)

18) BEST MISCELLANEOUS PRINTED MATERIALS (SINGLE PAGE)

(Includes but not limited to direct mail pieces, rack cards, fliers, maps, etc. Only one item per entry. Mounting on Poster board, optional)

19) BEST COMPANY IMAGE PIECES

(Includes but is not limited to: Letterhead, envelopes, logo, etc.). (One item per entry)

20) BEST COVER DESIGN

(Submit cover only – mounted on poster board. Covers of Magazine, Newspaper, Brochures, Programs all acceptable.)

21) BEST SINGLE NEWSPAPER DISPLAY AD (Submit entry mounted on poster board.)

22) BEST SINGLE MAGAZINE DISPLAY AD (Submit ad mounted on poster board.)

23) BEST AD SERIES

(Submit a maximum of 5 ads.) (May be mounted on poster board together or individually.)

24) BEST PROMOTIONAL POSTER

(For posters not for sale at Festival or Event but used for promotional purposes to promote event) (Do not mount. Submit in poster tube.)

25) BEST COMMEMORATIVE POSTER

(For posters specifically for sale at festival or event.) (Do not mount. Submit in poster tube.)

26) BEST EVENT PROMOTIONAL PHOTOGRAPH

(Promotional photograph for your event) (Photo Dimensions: 8 inches x 10 inches)

27) BEST OUTDOOR BILLBOARD (Submit photo or print out of billboard.)

28) BEST EVENT INVITATION

(Single or Multiple Page Do NOT mount this category on poster board.)

IFEA’s ie: the business of international events

Spring 2013

ENTRY INFORMATION FOR CATEGORIES 13-17: • These are stand alone items and no written information is required. • Submit each entry in original format if possible • Submit categories 13-17 with the entry form securely paper clipped/bull clipped to the back. • Do not mount on display board. Judging Criteria • Does the entry relay the image of the event? • Is the item creative and / or unique? • Is the item designed / laid out well? • Is the message clear? • Is the item organized? • Is the item usable / functional? • What is the overall impression? ENTRY INFORMATION FOR CATEGORIES 18-28: • Submit categories 18-23, 26-27 each mounted on a single, black display board with a maximum of 2 inch margins. • Submit categories 24-25 each rolled up in a poster mailing tube. Do not fold the poster. Do not mount the poster on poster board. • Only one entry per board. • These are standalone items and no written information is required. Judging Criteria • Does the item / entry relay the image of the event? • Is the item creative and / or unique? • Is the item designed / laid out well? • Is the message clear? • Is the item organized? • Is the item usable / functional? • What is the overall impression?

CATEGORIES EVENT DÉCOR & AMBIANCE ENTRIES 29) BEST STREET BANNER

(Submit photo or printouts of banner only.)

30) BEST MISCELLANEOUS ON-SITE DECOR

(Includes but is not limited to: directional signage, stage backdrops, entryways, flags, inflatables, etc.) (Submit photo of decor.)

ENTRY INFORMATION FOR CATEGORIES 29-30: • Submit categories 29-30 each mounted on a single, black display board with a maximum of 2 inch margins. • Only one entry per board. • These are standalone items and no written information is required. Judging Criteria: • Does the item / entry relay the image of the event? • Is the item creative and / or unique? • Is the item designed / laid out well? • Is the message clear? • Is the item organized? • Is the item usable / functional? • What is the overall impression?

MERCHANDISE ENTRIES For merchandise sold at Festival / Event / Organization. 31) BEST T-SHIRT DESIGN

(No tank tops or collared shirts.)

32) BEST PIN OR BUTTON

(Please mount pin on poster board with 2 inch margins maximum.) (For single pins only, no pin sets.)

33) BEST HAT 34) BEST OTHER MERCHANDISE 35) BEST MISCELLANEOUS CLOTHING 36) BEST NEW MERCHANDISE

(New merchandise to festival/event/organization within the past year.)

ENTRY INFORMATION FOR CATEGORIES 31-37: • Submit actual merchandise items for categories 31- 37 as is. • These are standalone items and no written information is required. • Do not mount merchandise items on poster board – except Best Pin or Button. Judging Criteria: • Does the entry / item relay the image of the event? • Is the item creative and / or unique? • Is the message clear? • Is the entry / item organized? • What is the “Usability” factor? • What is the overall impression?

37) BEST SPONSOR GIFT

Spring 2013

IFEA’s ie: the business of international events 49

CATEGORIES SPONSORSHIP ENTRIES 38) BEST TARGETED SPONSOR SOLICITATION PROPOSAL

(Actual Sponsorship Proposal that was used to target a specific sponsor for your festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following using no more than one (1) page per section: a. Introduction and description of main event. b. Introduction, effectiveness and success of Sponsor solicitation package 2. Supporting Materials: a. Please provide a sponsor solicitation package that was actually used to target a specific sponsor. • Provide in the format used to present to the sponsor and with any other additional materials that were sent with the proposal. (Okay to substitute name of sponsor for generic name for confidentiality.)

39) BEST INDIVIDUAL SPONSOR FOLLOW-UP REPORT

(Actual Follow-Up Report that was generated for a specific sponsor for your festival/event.) 1. Overview Information: Please provide a detailed overview explaining the following using no more than one(1) page per section: a. Introduction and description of main event. b. Introduction and effectiveness of Sponsor follow-up report 2. Supporting Materials: a. Please provide a sponsor follow-up report that was actually sent to a specific sponsor. • Provide in the format used to present to the sponsor and with any other additional materials that were sent with the report. (Okay to substitute name of sponsor for generic name for confidentiality.)

40) BEST SPONSOR PARTNER

(Entry should highlight a specific sponsor that stands out above all others.)

1. Overview Information: Please provide a detailed overview explaining the following using no more than one (1) page per section: a. Introduction & description of main event b. Description of sponsor; level of sponsorship (cash/in-kind); details of benefit package and length of sponsorship/ partnership c. Quantity and quality of support to event by sponsor d. Goals and success of relationships for both event and sponsor e. How the sponsor stands out over all other sponsors. f. Activation of Sponsorship by Sponsor ENTRY INFORMATION FOR CATEGORY 40: • Submit category 40 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed.

IFEA’s ie: the business of international events

Spring 2013

ENTRY INFORMATION FOR CATEGORIES 38-39: • Submit category 38-39 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For each entry, please provide detailed information to the following: 1. Overview Information (20 points) Please provide the required information listed under the specific category to the left. 2. Supporting Materials: (70 points) Please provide materials listed under the specific category to the left. Supporting materials should be placed at the end of the entry. 3. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the item / entry well organized? • Is the content professional? • Is the message clear? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met? • Would you recommend or support this opportunity if in a position to do so?

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For each entry, please provide detailed information to the following: 1. Overview Information (90 points) Please provide the required information listed under the specific category to the left. 2. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry well organized? • Is the content professional? • Is the message clear? • What is the overall impression? • Have all requirements been met?

CATEGORIES SPONSORSHIP ENTRIES 41) BEST SINGLE NEW SPONSORSHIP OPPORTUNITY

(New activity / program within an Event created specifically to recruit a new sponsor or created after a new sponsor came on board.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description and purpose of New Sponsorship Opportunity c. Description of the targeted sponsor for the opportunity and why the sponsor was targeted d. Explain the synergy between the event and sponsor e. Overall effectiveness / success of the sponsorship 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

42) BEST SPONSORSHIP PROGRAM FOR INDIVIDUAL SPONSOR

(Activity or program within a Festival or Event created for a specific sponsor.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description and purpose of event/program being sponsored c. Description of sponsor; level of sponsorship (cash/in-kind); details of benefit package and length of sponsorship/ partnership d. Overall effectiveness / success of the program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

43) BEST OVERALL SPONSORSHIP PROGRAM

(Entry should focus on the entire sponsorship program for all sponsors for the entire event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description of overall Sponsorship Program c. List of all current sponsors for event; levels of support; longevity of each d. Available benefit packages and valuation formulas e. Description of sponsor research targeting and sales process f. Description of sponsor service team and steps taken when new agreement is signed. g. Describe current sponsor renewal process & retention rate h. Overall effectiveness / success of the program i. Supporting Materials: Please provide a copy of Sponsor Agreement Sales Packet / Proposal; a copy of Sponsorship Follow Up Report and a sample of Sponsor Agreement 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 41-43: • Submit category 41-43 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead: “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?” 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program. Supporting materials should be placed at the end of the entry. Please limit your supporting materials to those actually sent / used with sponsor: • Printed materials (brochures / programs etc.) • Promotion / marketing / media materials • Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the program / entry well organized? • Is the content professional? Is the message clear? • Is the program / entry designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met? • Would you recommend or support this opportunity if in a position to do so?

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CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 44) BEST VOLUNTEER PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section, together with applicable examples: a. Introduction and background of main event b. Description and purpose / objective of Volunteer Program c. Target audience / attendance / number of participants d. Duration of program (start to finish) and years program has been part of event e. Volunteer demographics (age, gender, individuals, charities, schools etc.) f. Volunteer job descriptions g. Recruitment methods / materials / applications h. Communication methods / materials i. Training guides / programs / handbooks / materials j. Organization & schedule information / materials k. Volunteer perks / benefits l. Appreciation / recognition methods/ materials m. Retention methods / materials n. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) o. Overall revenue/expense budget of program p. Overall effectiveness / success of program q. Measurable results: ratio of volunteers to guests; # of volunteers; # of volunteer hours; # of volunteers in database; estimate of the financial value of your volunteers. 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

45) BEST GREEN PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Green Program c. Target audience / attendance / number of participants d. What “Green” initiatives were used at event (i.e. – recycling; alternative methods of transportation; renewable energy etc.) e. How were initiatives promoted to the public? Include marketing materials. f. Education programs pertaining to green program (for public, sponsors, volunteers etc.) g. How was green program enforced / encouraged, tracked, and staffed? h. Who assisted green program (vendors, volunteers etc.) i. Measurable results – how much was recycled; savings / cost of Green program; carbon footprint reduction j. Non-tangible results: education; awareness; involvement etc. k. Duration of program (start to finish) and years program has been part of event l. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) m. Tie-in of program to main event n. Overall revenue/expense budget of program o. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry. 52

IFEA’s ie: the business of international events

Spring 2013

ENTRY INFORMATION FOR CATEGORIES 44-45:

• Submit categories 44 & 45 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead. • “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?” 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. • Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.) • Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants / volunteers / sponsors / students / charities etc. • Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 46) BEST EDUCATIONAL PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Educational Program c. Target audience / attendance / number of participants d. Provide a detailed description of the education program / curriculum e. Who provided the education and in what setting f. Involvement by local educational institutions and professional education (if any) g. What was the take-away for attendees / participants? h. Duration of program (start to finish) and years program has been part of event i. Tie-in of program to main event j. Overall revenue/expense budget of program k. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) l. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

47) BEST CHILDREN’S PROGRAMMING

48) BEST COMMUNITY OUTREACH PROGRAM

(Programming done throughout the year to benefit and help include all parts of the community, while enhancing the image and brand of your event/organization throughout the year.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Outreach Program c. Target audience / attendance / number of participants d. Impact program had on the community e. Tie-in of program to main event f. Duration of program (start to finish) and years program has been part of event g. Overall revenue/expense budget of specific program h. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry. Spring 2013

ENTRY INFORMATION FOR CATEGORIES 46-48: • Submit categories 46, 47, 48 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead. • “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?” 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. • Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.) • Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants / volunteers / sponsors / students / charities etc. • Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

IFEA’s ie: the business of international events 53

FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 49

BEST EVENT / PROGRAM WITHIN AN EVENT TO BENEFIT A CAUSE

(Entry may include fundraising programs as well as awareness programs.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Event/Program c. Description of selected cause and why/how it was selected d. Target audience / attendance / number of participants e. Tie-in of program to main event f. Duration of program (start to finish) and years program has been part of event g. Overall revenue/expense budget of specific event/program h. Description of sponsor / charity / volunteer / school / other group involvement with event / program and benefits to each (if applicable) i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

50) BEST EVENT (WITHIN AN EXISTING FESTIVAL)

ENTRY INFORMATION FOR CATEGORIES 49-52: • Submit categories 49, 50, 51, 52 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead. ❍ “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. 51) BEST EMERGENCY PREPAREDNESS & RISK ❍ Printed materials (brochures, handbooks, RecruitMANAGEMENT PLAN FOR AN EVENT ing materials, evaluation forms, signage, etc.) 1. Overview Information: ❍ Promotional / marketing / media materials Please provide a detailed overview explaining the following, using no more than one (1) page ❍ Merchandise materials (photographs accepted) to explain each section: ❍ Information provided to participants / volunteers / a. Introduction and background of main event sponsors / students / charities etc. b. Description and purpose / objective of Risk Management Plan ❍ Supporting photographs c. Target audience / attendance / number of participants ❍ Measurable results: tangible & intangible d. Overall revenue and expense budget of specific program / event e. Duration of program (start to finish) and years program has been part of event 4. Judging Criteria: (10 points) f. Description of sponsor / charity / volunteer / school / other group involvement with event / No information required. Your entry will also be judged program and benefits to each (if applicable) based on the below criteria. g. Overall effectiveness / success of program • Is the entry / program well organized? 2. Supporting Question - Answer question listed to the right, here • Is the content professional? Is the message clear? 3. Supporting Materials - Place at the end of the entry. • Is the entry / program designed and laid out well? ❍ Please submit a detailed documentation of the security plan used at your event • Is the program creative and / or unique? • What is the overall impression? 52) BEST FOOD & BEVERAGE PROGRAM • Have all supporting materials and measurable results 1. Overview Information: been provided? Please provide a detailed overview explaining the following, using no more than one (1) • Have all requirements been met? pages to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Food & Beverage Program c. Number and types of vendors d. Site Plan (i.e.: Food Courts, Crowd Flow etc.) e. Cash Management Process f. Fee Structures g. Alcohol Beverage Training/Control h. Vendor Application Process i. Festival/Event Controlled Products & Services (i.e.: Festival-only controlled product sales, Vendor required product use, etc.) j. Promotional activities to drive business k. Power/Water Access l. Waste Disposal 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 53) BEST NEW EVENT

(For festival or event created from scratch within the past year that does not take place as part of an existing festival/event.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of New Event c. Target audience and attendance / number of participants d. Overall revenue/ expense budget of event e. Duration of program (start to finish) f. Description of sponsor / charity / volunteer / school / other group involvement with event and benefits to each (if applicable) g. What makes the event unique & creative? h. Overall effectiveness / success of event 2. Supporting Materials - Place at the end of the entry.

54) BEST NEW PROMOTION ACTIVITY

(Entry should focus on a specific promotion done by festival/event/vendor/supplier to promote a product, service, event, company, entertainment etc.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event/organization b. Description and purpose / objective of Promotion c. Description of what was being promoted (merchandise, event, company, entertainment; etc.) d. What makes this promotion different from any other promotions? e. Target audience for promotion f. Attendance / number of participants (if applicable) g. Tie-in of promotion to main event/organization h. Overall revenue and expense budget of specific promotion i. Duration of promotion (start to finish) j. Description of sponsor / charity / volunteer / school / other group involvement with event/ organization and promotion and benefits to each (if applicable) k. Overall effectiveness / success of promotion 2. Supporting Materials - Place at the end of the entry.

55) BEST NEW ATTENDEE SERVICE

(Any product or service designed with the intent of enhancing the attendee experience at a festival or event.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Description of new product or service b. Goals & objectives of product or service c. Application of product or service at an event d. Overall effectiveness of product or services e. Target market for product or service f. Measurable results: tangible & intangible 2. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 53-56: • Submit categories 53, 54, 55, 56 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For each entry, please provide detailed information to the following: 1. Overview Information (80 points) Please provide the required information listed under the specific category to the left. 2. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. • Printed materials (brochures, handbooks, signage, etc.) • Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants • Supporting photographs • Measurable results: tangible & intangible 3. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

56) BEST MONEY-MAKING IDEA

(Entry should focus on a specific idea implemented at a festival/event that generated revenue.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description of money-making idea c. Target audience (if applicable) d. Attendance / number of participants (if applicable) e. Mediums used to promote idea (if applicable) f. Tie-in of promotion to main event/organization g. Overall revenue and expense budget of specific idea h. Overall effectiveness / success of idea 2. Supporting Materials - Place at the end of the entry. Spring 2013

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CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 57) BEST OVERALL MERCHANDISING PROGRAM

(Entry should focus on the entire merchandising program for the entire festival/event/organization.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of event b. Description of merchandising program c. Overall revenue and expense budget for merchandise lines d. Target market for merchandise program (population / location) e. Marketing efforts tied to merchandise program f. Community support in selling / distributing merchandise g. Measurable results (Including number / variety of items; number of outlets selling items, etc.) h. Overall effectiveness of merchandise program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry. ENTRY INFORMATION FOR CATEGORY 57: • Submit category 57 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

58) BEST VENDOR / SUPPLIER

(Entry should highlight a specific vendor or supplier to the festival/event that stands out above all others.) (Festival or Event must submit this entry)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Description of vendor / supplier b. How the vendor / supplier stands out over all other vendor / suppliers c. Quantity and quality of service and support to event by Vendor / Supplier d. Length of relationship between vendor and event e. Tangible benefits of relationship to both event and vendor. ENTRY INFORMATION FOR CATEGORY 58: • Submit category 58 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) 56

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For entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead: “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?” 3. Supporting Materials: (10 points) Please include a sample selection of actual merchandise items available. • Also include photographs of all merchandise items available in your merchandise program. • Supporting materials should be placed at the end of the entry. 4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? • Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met? For entry, please provide detailed information to the following: 1. Overview Information (90 points) Please provide the required information listed under the specific category to the left. 2. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry well organized? • Is the content professional? • Is the message clear? • What is the overall impression? • Have all requirements been met?

CATEGORIES MEDIA RELATIONS ENTRIES For effective media campaigns that generated news coverage, instead of paid or donated advertising time. 59) BEST PRESS / MEDIA KIT

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of campaign / event b. Provide actual media kit used to send out for your event c. Target audience / demographics for the media d. Target location (communities / cities / states) for media e. Types of mediums used for media outreach f. Measurable results indicating: • Number of publications / cities / states targeted • Percent of distribution that covered news • Longevity of media coverage • Increase / decrease in media from previous years 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

60) MOST CREATIVE / EFFECTIVE NEWS STUNT

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of campaign / event b. A detailed description of the news stunt c. How did the news stunt fit in to the overall media campaign for your event? d. Sponsor / charity involvement (if any) and why e. Was there an increase in media coverage for your event as a result of the stunt? 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

61) BEST MEDIA RELATIONS CAMPAIGN

(Entry should focus on the entire media relations campaign for a specific festival or event.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of campaign / event b. Purpose / objective of the media relations campaign c. A detailed outline of your entire media relations campaign for your event. d. Target audience / demographics for the media e. Target location (communities / cities / states) for media f. Types of mediums used for media outreach g. Measurable results indicating: ❍ Number of publications / cities / states targeted ❍ Percent of distribution that covered news ❍ Attendance results based on media outreach / campaign ❍ Income results based on media outreach / campaign ❍ Longevity of media coverage ❍ Increase / decrease in media from previous years. h. Overall effectiveness of the campaign 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 59-61: • Submit categories 59, 60, 61 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this promotion from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the promotion is a new promotion, please answer the following question instead. • “What challenges / obstacles did you foresee / encounter in creating the promotion, and how did you handle them?” 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. • Printed materials (press releases, news clippings, etc.) • Promotional materials • Video / audio documentation (Please limit to 1 example – provide written explanation of further examples) • Supporting photographs 4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / campaign well organized? • Is the content professional? • Is the message clear? • Is the entry / campaign designed and laid out well? • Is the campaign creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

Spring 2013

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CATEGORIES EDUCATIONAL INSTITUTIONS OFFERING EVENT MANAGEMENT PROGRAMS 62) BEST EVENT MANAGEMENT ASSOCIATE DEGREE

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Associate Degree c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Question - Answer question listed to the right, here

63) BEST EVENT MANAGEMENT BACHELOR DEGREE

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Bachelor Degree c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Question - Answer question listed to the right, here

64) BEST EVENT MANAGEMENT CERTIFICATION PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Certification Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Question - Answer question listed to the right, here

ENTRY INFORMATION FOR CATEGORIES 62-64: • Submit categories 62, 63, 64 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Materials: (40 points) Please also include any and all of the following Supporting Materials. Supporting materials should be placed at the end of the entry. • Student recruiting materials • Student application materials • Marketing materials for program • Complete outline and syllabus of course(s) • Reading requirements list for students • Sample testing Materials 3. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? • Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

CATEGORIES EDUCATIONAL INSTITUTIONS OFFERING EVENT MANAGEMENT PROGRAMS 65) BEST ONLINE EVENT MANAGEMENT TRAINING PROGRAM 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Online Event Management Training Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Materials - Place at the end of the entry.

66) BEST FESTIVAL & EVENT MANAGEMENT MASTERS PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Festival & Event Management Masters Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Materials - Place at the end of the entry.

67) BEST FESTIVAL & EVENT MANAGEMENT PHD PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Festival & Event Management PhD Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 65-67: • Submit categories 65, 66, 67 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.) For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Materials: (40 points) Please also include any and all of the following Supporting Materials. • Supporting materials should be placed at the end of the entry. • Student recruiting materials • Student application materials • Marketing materials for program • Complete outline and syllabus of course(s) • Reading requirements list for students • Sample testing Materials 3. Judging Criteria: (10 points) • Is the entry / program well organized? • Is the content professional? • Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

CATEGORIES JUST FOR FUN 68) BEST PROMOTION PUBLICIZING AN IFEA / HAAS & WILKERSON PINNACLE AWARD WIN

ENTRY INFORMATION FOR CATEGORY 68: • Submit category 68 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Purpose / objective of promotional campaign for awards won b. Years participated in awards program c. Average number of entries submitted / won each year d. Target audience for promotion e. Types of mediums used for promotion f. Measurable results (Indicating number of publications / cities / states targeted) g. Measurable results (Indicating percent of distribution that covered news) h. Overall effectiveness of promotion i. Place supporting materials at the end of the entry

For entry, please provide detailed information to the following:

Supporting Questions: Please answer the following supporting questions, using no more than one (1) page for each question: a. What has winning an IFEA / Haas & Wilkerson Pinnacle Award meant to your event? b. How have you used winning an award(s) to your advantage? c. How has winning an award(s) enhanced your presence within your community? d. How has winning an award(s) increased leverage / funding / sponsorship for your event?

4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / promotion well organized? • Is the content professional? • Is the message clear? • Is the entry / promotion designed and laid out well? • Is the promotion creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

(No Charge to enter this Category) Were you recognized for your outstanding accomplishments with an IFEA/Haas & Wilkerson Pinnacle Award last year? Gain further recognition for your award and event by promoting your Pinnacle Win, and then share with us what you did!

Supporting Materials: Please also include any and all of the following supporting materials – limiting it to no more than 5 examples of each: • Promotion materials used to promote award • Media clippings from promotion • Examples of IFEA / Haas & Wilkerson Pinnacle Winner logo placement

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1. Overview Information (30 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (30 points) Please answer questions listed under specific category to the left. 3. Supporting Materials: (30 points) Please provide materials listed under the specific category to the left. Supporting materials should be placed at the end of the entry.

ENTRY FORM REQUIREMENTS

• Please submit one overall entry form with total payment - list all entries submitted on this form. (Be sure to complete sections 1 & 4.) • Please also submit TWO copies of each individual entry form

2013

AWARDS RELEASE AND USAGE

By submitting your entry to the IFEA / Haas & Wilkerson Pinnacle Awards, you automatically grant the IFEA the right to use any materials from your entries for editorial, analytical, promotional or any other purpose without additional compensation. In addition, you acknowledge your entry / ies are not returnable. Your entry into the competition is acknowledgment of these terms.

– one to be attached to each individual entry – and one to be submitted with payment and overall entry form. (Complete sections 1, 2, 3 on each entry form.) Be sure payment information is NOT filled out on these copies. • If one organization is entering items for multiple events produced, please submit a separate payment form / overall entry form for each event to allow for proper credit to be given to that event. • Please be sure to PRINT your organization and event name correctly – as that is how it will appear on any award if won. • NEW - Please email a high resolution copy of your organization or event logo to nia@ifea.com - subject “2013 Pinnacle Entry Logo” & Your Event / Logo Name.

Sections 1, 2 and 3 must be completed twice for each entry. One copy attached to each individual entry, and one copy attached to payment form. 1. ENTRANT INFORMATION (Required for each entry) (Tip: Complete Section 1. Then make copies to complete form for each entry.) How you list your organization / event name will be how it is listed on any award won. Please PRINT clearly. Organization: ________________________________________________________________________ Membership #: ____________________________ Contact Person: _________________________________________________________________________________________________________________ Name of Event (if different from organization): ________________________________________________________________________________________ Address (Do not list P.O. Box): ____________________________________________________________________________________________________ City: ____________________________________ State: _____ Zip Code: _____________________ Country: __________________________________ Phone:______________________________________________ Fax: ______________________________________________________________________ E-mail: ______________________________________________ Website: __________________________________________________________________ 2. BUDGET INFORMATION (Required for each entry) Organization’s Event Expense Budget: (USD, include all cash outflows). Each entry category is divided into the budget categories below. Gold, Silver and Bronze Awards will be given in each budget category unless the number of entries warrants budgets to be combined into over and under $750,000. under $250,000 $250,000 - $749,999 $750,000 - $1.5 million over $1.5 million 3. ENTRY INFORMATION (Required for each entry) Category Name (required): _____________________________________________________________ Category Number (required): ________________ To help identify your entry – please provide a brief description of entry: (i.e.: black T-shirt with fish; or Photo entitled “Fireworks over Capital”) ____________________________________________________________________ 4. Complete section 4 ONCE. Attach payment for all entries combined. PAYMENT INFORMATION Total Categories Entered: List which categories you are entering and how many of each. This is so we can account for all of your entries when they arrive. (e.g. 1, 2, 2, 3, 5, 7…): ___________________________________________________________________________________________________________ Entries received with payment by 5:00 p.m. June 17, 2013 (MST) will receive the Member early bird rate of $30 per entry or $50 per Grand Pinnacle Entry; or the Non-Member early bird rate of $60 per entry or $100 per Grand Pinnacle entry, depending on IFEA Membership Status. Entries received between June 18, 2013 and July 15, 2013 will receive the Member final entry rate of $35 per entry or $60 per Grand Pinnacle entry; or the Non-Member final entry rate of $75 per entry or $150 per Grand Pinnacle entry, depending on IFEA Membership Status.

Early Bird Member Rates

Final Entry Member Rates

Early Bird Non-Member Rates

Final Entry Non-Member Rates

Grand Pinnacle:

$50 x _____= $_______

$60 x _____= $_______

$100 x _____= $_______

$150 x _____= $_______

Pinnacle Entries: $30 x _____= $_______ (Categories 2-67) Category #68: $ 0 x _____ = $_______ (Just for Fun Category)

$35 x _____= $_______

$60 x ______= $_______

$75 x ______= $ _______

TOTAL NUMBER OF ENTRIES: ___________________________ TOTAL AMOUNT ENCLOSED: $ ______________________________________ Check (Make checks payable to IFEA) Visa MasterCard American Express Print Cardholder Name: __________________________________________________________________________________________________________ Signature: ______________________________________________________________________________________________________________________ Credit Card Number: _____________________________________________________________________________________________________________ Expiration Date: _____________________________________________ CVN Code: ______________________(MC / VISA-3 digit code back) (AMX-4 digit code front) DID YOU REMEMBER TO Include your payment for total entries along with 1 overall entry form listing each category number entered Include 2 individual entry forms for each item – one with item, one with payment, do not list payment details on these forms Include each entry (as requested) on a disk or thumb drive Email organization / event logo to nia@ifea.com Review all rules for entry submission – go to: Pinnacle Awards section at www.ifea.com for more info. International Festivals & Events Association • 2603 W Eastover Terrace • Boise, ID 83706 U.S.A. • phone: +1.208.433.0950 • fax: +1.208.433.9812 • web: www.ifea.com

The importance of volunteers to our industry cannot be overestimated. Whether the individual acts as a volunteer administrator of an event or contributes his or her time and resources in support of a larger, multi-event organization with a paid staff, the efforts that are put forth deserve our heartiest congratulations and recognition. It is for that reason that the IFEA/Zambelli Fireworks Volunteer of the Year Award was created. Nominations are currently being accepted for the 2013 IFEA/Zambelli Fireworks Volunteer of the Year Award. The award recognizes those outstanding event volunteers whose unselfish and dedicated service to a member festival or event has made a significant difference in their community and mirrors the commitment to success in our professional ranks. A panel of impartial judges from within the IFEA organization will select the Volunteer of the Year winner from all of the candidates submitted. That individual will be honored at the 58th Annual IFEA Convention & Expo location and date TBD. As the guest of the IFEA and sponsor Zambelli Fireworks, the winner will receive an all expense* paid trip to the convention to accept their award. All participants in the program will be promoted through local and national media releases, available on request. The finalist will be featured in a future issue of “ie” magazine, and each semi-finalist will receive a certificate of recognition. Volunteer nominations submitted for the 2012 Award may be carried over into the 2013 competition with the permission of the nominator. The nominator will have the option to re-write the nomination if desired. Please direct all nomination materials and questions to Nia Hovde, Director of Marketing & Communications at nia@ifea.com or +1-208-433-0950 ext. 3.

* Includes hotel and airfare only. To view a complete list of past winners and their nominations, go to the Industry Honors section on www.ifea.com

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NOMINATION CRITERIA 2013 CALL FOR NOMINATIONS Please submit the following information for your nomination.

A. INDIVIDUAL SUBMITTING NOMINATION INFORMATION: Name • Organization • Address • City • State • Zip • Phone • Fax • Email B. NOMINATION INFORMATION: Name • Address • City • State • Zip • Phone • Fax • Email C. NOMINATION QUESTIONS: Please provide a 2 paragraph response for each of the questions below, indicating which question you are answering. Please include specific examples for each. Points will be awarded for each question. Points awarded are listed below. 1. Explain your volunteer’s significant depth of involvement. (20 points) 2. Show specific examples of your volunteers roles and responsibilities. (10 points) 3. Describe how your volunteer has provided significant enthusiasm, organizational assistance and specific expertise. (10 points) 4. Explain how your volunteer has shown initiative and leadership in his or her efforts. (20 points) 5. Tell how your volunteer has exemplified his or her dependability. (10 points) 6. Describe your volunteer’s positive attitude. (10 points) 7. Describe how your volunteer has made a difference to the festival or event. What impact has your volunteer had on your festival/event? What void would there be without him or her as a volunteer? (20 points) D. ADDITIONAL INFORMATION: If your nominee is selected, we will need the following information for marketing the 2013 Volunteer of the Year. Please submit the following with your nomination. (Not required at time of nomination). 1. A photograph of the volunteer you are nominating. 2. A local media list (up to 15 contacts) in order for IFEA to send Press Releases to your media. • The preferred media list submission is in an Excel format. • Please include: Name; Organization; Address; City; State; Zip; Phone; Fax; Email E. ENTRY FORMAT: • Please email your nomination in a Word document. F. SUBMIT ENTRIES TO: Nia Hovde, Director of Marketing & Communications at nia@ifea.com

To be eligible for consideration for the IFEA/Zambelli Fireworks Volunteer of the Year Award, the nominee shall:

• Be a current volunteer of an IFEA member organization • Have provided significant enthusiasm, organizational assistance and specific expertise • Be a volunteer of the nominating festival or event for at least 3 years • Have shown initiative and leadership in his or her efforts • Have a positive attitude • Have exemplified his or her dependability • Have a significant depth of involvement • Have made a difference to the festival or event

G. QUESTIONS: Please contact Nia Hovde, nia@ifea.com, +1-208-433-0950 ext. 3

Nominations should be submitted no later than Monday 5:00 PM (MST) June 3rd, 2013

• Have received no remuneration for services directly associated with his or her volunteer duties

* Pixels Per Inch ** Pixels Per Centimeter

Spring Spring 2013 2013

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2013Call for Inductees Please submit the following information for your nomination: A.

INDIVIDUAL SUBMITTING NOMINEE 1. Name • Organization • Address • City • State Zip • Phone • Fax • Email 2. If your nominee is selected, will you be willing to help ensure that they attend the luncheon? 3. If your nominee is selected, will you be willing to assist the IFEA and the inductee in gather ing materials to prepare their induction video?

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

Known as the associations most prestigious honor, the IFEA Hall of Fame recognizes those outstanding individuals who, through their exceptional work and achievements, have made a significant contribution to the Festivals and Events Industry. The International Festivals & Events Association is now accepting nominations from its members for those individuals who meet this standard for the 2013 Induction Ceremony. The Hall of Fame Committee will review all nominations and select one or more individuals to be honored in to the IFEA Hall of Fame. The Honoree (s) will be the guest (s) of the IFEA on an all-expense* paid trip to the 58th Annual IFEA Convention & Expo location and date TBD, where they will be inducted at a reception, in their honor. NOMINATION CRITERIA Nominations must represent a current or past IFEA member who has made substantial achievements and/or contributions to the festivals and events industry. Nominees can be retired and represent any facet of our industry (i.e. vendor, supporter, senior professional, etc.). (Current IFEA Board of Directors and Staff Members are not eligible to be nominated).

NOMINATION QUESTIONS • Please answer each of the following questions citing specific examples. Points will be awarded for each question. Points awarded are listed below. • Please provide up to a 1 (one) page response (single sided) for each of the below questions, for a maximum total of 4 (four) pages. 1. Explain how your nominee has made a difference to the festivals & events industry. (25 points) 2. Submit a general overview of your nominee’s career, including organizations they have worked for, positions held, titles, awards, etc. (25 points) 3. Describe the level of involvement your nominee has had with the IFEA during their career. (25 points) 4. What void would there be if he/she were not an event professional? (25 points)

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

Nominations should be submitted no later than 5:00 PM (MST) Monday, June 3rd, 2013

*Includes hotel and airfare only. 64

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PRESENTING SPONSOR

IFEA WORLD FESTIVAL & EVENT CITY

AWARD PROGRAM “Recognizing the best in community leadership and festival and event partnerships around the world.”

ABOUT THE

IFEA WORLD FESTIVAL & EVENT CITY AWARD

The IFEA World Festival & Event City Award© was designed and created as a way for the global festivals and events industry to openly encourage, support, learn from and recognize positive local environments for festivals and events worldwide. Festivals and events create tremendous community and economic capital in the markets that they serve, but the partnership with and support from the local community, at all levels, is critical to the success and sustainability of existing festivals and events, as well as the ability to attract and encourage new events. Through this special award the IFEA is pleased to recognize and fly the flag of those cities and markets who have worked, through concerted efforts, to provide an environment conducive to successful festivals and events. Recipients of the IFEA World Festival & Event City Award© from the first few years have already provided us with a sampling of standout programs and lessons learned in multiple areas including: • Provision of an insurance coverage umbrella policy for all city events; • ‘One-stop shopping’ for event permitting and municipal service needs; • A common volunteer program shared by all city events; • Provision of a music licensing umbrella agreement for all city events; • Provision, maintenance and storage of non-proprietary equipment for all city events; • Shared marketing campaigns; • Provision of training seminars for city events to help ‘raise all boats’; • Provision of all city permits at no-cost to events; • Free/Discounted city services for events; • And many more. It is easy to imagine the positive impact – both social and economic – that such city/event initiatives (and new ones yet to be created) can have on host communities and events around the world. For each year’s selected cities, the IFEA World Festival & Event City Award© provides: • A strong platform from which to recognize the success of current and on-going efforts by every component of your community; • A clear positioning statement to encourage continued infrastructure, policy and process enhancement and expansion; and • A powerful marketing statement for use in recruiting and encouraging new festivals, events and businesses.

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

In 2011, VISA joined with the International Festivals & Events Association to become the presenting sponsor of the IFEA World Festival & Event City Award, creating a natural partnership between the global events industry and the globally recognized financial leader. “Through this unique and special award, the IFEA hopes to create and expand the dialogue between events and cities around the world, at a time when each needs to be supporting the other more than ever. VISA is the ideal partner for this program and together we look forward to creating new and ongoing opportunities to explore and inspire these important city/event partnerships, redefining ‘best practices’ and setting the stage for the future,” said Steven Wood Schmader, CFEE, President & CEO of IFEA World. Charles Brown, Chairman & CEO of Festival Transaction Services and Festival Media Corporation, representing VISA in recognizing the 2011 IFEA World Festival & Event City Award© recipients, commented that “The IFEA has successfully built a global network of event professionals and resources that are changing the face of the industry and VISA is proud to be a part of that effort.” Festival Transaction Services has formed a new partnership that includes VISA, Bank of America Merchant Services and First Data Corporation – the three largest financial services companies in the United States – to provide cash management services to the festivals and events industry around the world. “We know that the professionals in the global festivals and events industry today are in need of strong and reliable partners – from recognition to cash management systems that can help them increase revenues and build stronger financial foundations. We can now bring that to the table and are excited about working with the IFEA to help strengthen the success of festivals and events around the world,” noted Brown. For more information on VISA products and services for festivals and events, please contact Jim Shanklin, Executive Vice President of Festival Transaction Services/Festival Media Corporation at +1-206-381-5202 or jshanklin@festmedia.com.

ENTRY INFORMATION Quick Reference Guide DEADLINES

• Entry Deadline: 5:00 p.m. (Mountain Time Zone) – Monday, July 1st, 2013 • Entry must include completed entry, additional requested details and application form with payment • Due to time constraints in judging, late entries cannot be accepted.

FEES

The total cost to enter the IFEA World Festival & Event City Award© is $695 (U.S. Dollars) for IFEA Members and $895 (U.S. Dollars) for non-IFEA Members per entry. Payment may be made using a Visa, MasterCard or American Express credit card or by Check (made payable to the IFEA) or by Wire Transfer. For more information on Wire Transfers and transfer fees, please contact Bette Monteith at bette@ ifea.com or +1-208-433-0950 ext: 2.

ELIGIBILITY

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

JUDGING

Judging of the IFEA World Festival & Event City Awards© is done by an international panel of festival and event industry experts. Award Recipients will be selected from within the following global regions: • Africa • Asia • Australia / New Zealand • Europe • Latin America (Including South • & Central America and Mexico) • The Middle East (MENASA) • North America And from the following population categories: • Population under 1 million • Population over 1 million

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Additionally, one entry will be selected as the top global entry within in each of the four possible population categories. • Regions and population categories may be combined as deemed appropriate by the Judging Panel. • Politically connected islands and territories should choose the region of their most direct affiliation. • An ‘Other’ option is provided on the application form to include any City that does not feel it fits logically into any of the seven regions.

SCORING SYSTEM

• A possible total of 100 points may be awarded to each entry based on the individual components listed under Sections 1-6 of the overall entry. • Failure to meet all requirements or answer/ provide all necessary information may impact judging decisions and will result in a deduction of points. • If a section or element does not apply to your City, please state this within your entry (and why it does not apply) in order to avoid losing points.

SELECTION AND NOTIFICATION

• Award Recipients will be notified via email by August 21st, 2013. Notification will go to the primary contact listed on the entry application. • The 2013 IFEA World Festival & Event City Awards© will be presented at during the IFEA’s 58th Annual Convention & Expo, location and date TBA. The top applicant from each population category, as judged against all global regions, will be highlighted in a brief video presentation. • Applicants may re-apply for the IFEA World Festival & Event City Award© each year.

MAXIMIZING YOUR AWARD

Being selected as an IFEA World Festival & Event City is only the beginning of the benefits to be gained from this special honor. The IFEA will help each recipient with ideas on how to maximize and leverage your award, with specific examples from previous recipients. • Each winning recipient of the IFEA World Festival & Event City Award© will receive an engraved award suitable for indoor display and an IFEA World Festival & Event City flag to be proudly flown or displayed outdoors or indoors. These will be provided with a personal letter of congratulations to each City.

• Additional IFEA World Festival & Event City awards, flags and recognition items are available for purchase by award recipients wishing to share their honor with the many partners who helped them to win. • Winning recipients will be provided with the rights to use the 2013 IFEA World Festival & Event City Award© Winner logo on their websites, press releases and other appropriate City letterhead, brochures, marketing materials, etc. • The IFEA will announce all IFEA World Festival & Event City Award© recipients in an international press release to the world’s leading media sources, including all local market media contacts provided to the IFEA by selected applicants. • IFEA World Festival & Event City Award© recipients will be featured in a special on-line tribute section at www.ifea.com in perpetuity and in a special section of ie: the business of international events, the IFEA’s industry-leading magazine. • Each winning recipient will receive a one year complimentary IFEA membership.

RELEASE & USAGE

• By submitting your entry to the IFEA World Festival & Event City Award, you automatically grant the IFEA the right to use any materials from your entry for editorial, analytical, promotional or any other purpose without additional permission or compensation. All materials and photos submitted as part of the application will become the property of the IFEA. • Entries submitted are not able to be returned. Copies should be made prior to submitting your entry, as desired. Note: Proprietary or sensitive information will not be shared if identified clearly. • Winning applicants agree that the IFEA may use their City name and representative photos in all press releases and program marketing materials, both hard copy and electronic versions. • Your entry into the competition is acknowledgement of these terms.

ENTRY REQUIREMENTS

Cities interested in being considered for the annual IFEA World Festival & Event City Award© must submit and include the following information: 1. A completed entry form providing contact and payment information. 2. A one (1) paragraph description of your city (to be used for promotional purposes by the IFEA). 3. An email list of your local media contacts in Excel format for IFEA to use to announce the selected recipients. 4. A representative photograph representing your City or events. (A least 300 dpi in size) 5. A three (3) minute video presentation representing your City. (Refer to Important Details section below for video format.) 6. A one (1) page introductory letter stating why your City should be selected to receive the IFEA World Festival & Event City Award. 7. Your overall completed IFEA World Festival & Event City Award© Entry providing responses and supporting information for the following sections. Refer to pages 6-9 for detailed descriptions required for each section. This part of your entry must be submitted as one (1) singular entry piece/ document/PowerPoint/Pdf, etc.: ❍ Section 1: Community Overview ❍ Section 2: Community Festivals & Events ❍ Section 3: City/Government Support of Festivals & Events ❍ Section 4: Non-Governmental Community Support of Festivals & Events ❍ Section 5: Leveraging ‘Community Capital’ Created by Festivals & Events ❍ Section 6: Extra Credit

• Please submit your overall entry on a CD, DVD disc, or USB flash drive (if mailing) to the IFEA World Headquarters, via email in a Word, PowerPoint, PDF document, tif, jpg or other standard formats (if submitted electronically). • All video support inclusions should be encoded for Region 1 or Region 0 DVD capabilities. If you do not have electronic capabilities, please contact the IFEA to arrange for other alternatives. • Entries over one Meg must be provided as a link to a fixed site with no expiration timeframe.

TIPS & POINTERS

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

• Not all components under a specific section will pertain to everyone. Don’t worry; there are no ‘right’ or ‘wrong’ answers and our international judging panel will base their decisions on overall impressions after reviewing all of the submitted information. We are all learning from each other, with the goal of strengthening the partnerships, benefits and returns to our respective communities from the festivals and events that are such an important part of the community fabric and we hope to find additional new ideas being implemented from within all of the award entries that we can share in the future. • Responses to the requested information may require a straight-forward numerical answer, or a more descriptive definition. While we have placed no limits on length, we encourage you to provide the most succinct answers possible that clearly make your point. • Support materials, photos, videos, brochures, copies, etc. should be inserted following the responses to each section. • As needed, we may communicate with the primary contact on the application to clarify any questions that may arise.

IMPORTANT DETAILS

SEND ENTRIES TO

• Please submit your main entry (as listed in components 6-7 under Entry Requirements above), as one (1) singular entry piece/document/ PowerPoint/Pdf, etc. Components 1-5 listed under Entry Requirements may be submitted as separate pieces from the main entry, but must be submitted at the same time. • All entry information should be provided in English and typed using 10-point Arial font.

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

QUESTIONS?

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

IFEA World Festival & Event City Award

ENTRY REQUIREMENTS

Working in partnership with local community leadership, festivals, events, organizations and businesses, please provide a clear overview and understanding of the festival and event environment in your City/Market through responses to each of the following sections. The application process in itself is a great opportunity to evaluate internally the areas where your City excels and other areas where you may be able to strengthen your efforts and further support local programs. Please submit the following information: 1. A completed entry form providing contact and payment information. 2. A one (1) paragraph description of your city (to be used for promotional purposes by the IFEA) 3. An email list of your local media in Excel format for IFEA to use to announce the selected recipients. 4. An individual photograph representing your city. (A least 300 dpi in size). 5. A three (3) minute video presentation representing your city. (Refer to Important Details section for video format.) 6. A one (1) page introductory letter stating why your City should be selected to receive the IFEA World Festival & Event City Award. 7. Your overall completed IFEA World Festival & Event City Award© Entry providing responses and supporting information for Sections 1-6 below. This part of your entry must be submitted as one (1) singular entry piece/document/PowerPoint/Pdf, etc. Please refer to the Entry Requirements and Important Details sections for specific entry formats and details. To view examples of past IFEA World Festival & Event City Award© recipients, go to: www.ifea.com / Industry Awards / World Festival & Event City Award / Recipients

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

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Section 2. Community Festivals and Events The information in this section will provide us with an understanding of the diversity and success of current festivals and events that serve your city residents and visitors. • Please provide us with a good overview of the leading festivals and events currently operating in your market, listing as much detail as possible about each, such as: a. b. c. d.

e. f. g. h. i. j. k. l. m. n. o. p.

Festival or Event Name Top Executive Contact Information Number of Years Festival or Event has been Produced Event Dates (Minimally the month held, with days if clearly defined – For example: the last weekend in June. If the event is a series, list the starting and ending dates – For example: Every Wednesday, June through August.) Recurrence Cycle (Annually, Every 5 Years, etc.) Estimated Gross Operating Revenues Estimated Gross Operating Expenses Estimated Total Sponsorship Support Estimated Volunteer Count and Estimated Hours Worked Estimated Combined Aggregate Attendance Estimated Non-Aggregate Attendance Primary Targeted Marketing Efforts (Local, Statewide, Provincial, Regional, National or International) Estimated Percentage of Annual Attendees from Geographical Areas (Local, Statewide, Provincial, Regional, National, International) Awards and Recognition Received Management Staff Professional Certifications and/or Degrees in Festival & Event Management Professional Industry Involvement / Memberships

Section 3. City/Governmental Support of Festivals and Events The information in this section will help us to understand the strength and depth of support by the applicant City and other area governmental bodies (County, State, taxing districts, etc.) as it pertains to festivals and events. • Please define or describe each of the following elements (a-i) below, as completely and accurately as possible. • Where available and appropriate, please provide examples and copies. • If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. b. c. d. e. f. g. h. i.

Defined Public Objectives and Support Statements for Festivals and Events by the City and Other Local Government Agencies Direct Funding Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies In-Kind Services Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies Defined Role of the City in Festival and Event Approval City-Provided Festival and Event Process Coordination and Assistance System (For example: Existence of City Events Department; One-Stop Shopping for Permitting and Planning Needs) Participation in Official Capacity by City Department Representatives on Boards and Planning Committees of Local Festivals and Events Local Laws, Ordinances, Regulations, Permits and Policies Impacting and Supportive of Festivals and Events (For example: noise ordinances, traffic regulations, curfews, parking fees, fireworks regulations, ambush marketing control, alcohol service requirements, taxes, food safety, insurance requirements, etc.) City Provided Festival and Event Training Programs (For example: Marketing, Planning, Budgeting, Risk Management, Alcohol Service, City Department Introductions, etc.) Direct Industry Involvement / Memberships by City/City Departments

Section 4. Non-Governmental Community Support of Festivals and Events The information in this section will help us to understand the commitment to festivals and events and direct support provided by community individuals and non-governmental organizations. Without this type of support most festivals and events could not achieve the level of success that these important partnerships help to build. • Please define or describe each of the following elements (a-l) below (if applicable) as completely and accurately as possible. • Answers should be provided as an overview reflective of the entire community versus an individual event/organization. • If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Volunteer Involvement b. Sponsorship Support c. Media Support d. Chamber of Commerce / Convention & Visitors Bureau Support (Promotion and marketing activities, familiarization tours, travel writer access, material creation, information distribution, grant funding, visitor hosting, etc.) e. Downtown Associations (Support by Downtown merchants and businesses) f. Organizations to Assist Individuals with Disabilities g. Local Event Cooperatives h. Sports Commissions i. Educational Institution Support j. Special Incentives/Discounts Provided to Festivals and Events by Local Venues k. Access to Industry Suppliers in Local Market (For example: banners and decorations; generators; portable toilets; merchandise; generators; stage, lights & sound; golf carts; security; chairs; barricades; ATM’s; communication services; etc.) l. Direct Industry Involvement / Memberships by Any of the Above

Section 5. Leveraging ‘Community Capital’ Created by Festivals & Events

The information in this section will help us to understand how the City and its non-governmental partners maximize the ‘community capital’ created by festivals and events in your market. • Please define or describe how your City uses the branding and marketing images/ opportunities provided by your local festivals and events to leverage return in other areas. • These may include, the items below, among others. • If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Community Branding b. Promoting Tourism c. Convention Marketing d. Corporate Recruiting Efforts e. Relocation Packets and Information f. Familiarization Tours g. Out-of-Market Media Coverage h. Enhancing Exposure to the Arts and Other Causes i. Creating Highly Visible Public Relations Campaigns for City Facilities and Services (For example: police, parks, fire, EMT’s, transportation, venues) j. Encouraging Community Bonding, Participation, and Celebration k. Highlighting or Developing Underused Venues or Sections of the Community l. Creating Legacies and Images Beyond the Event 72

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Section 6. Extra Credit This section provides an opportunity to highlight any other programs, services, resources, activities, etc., that may not have been included or covered in the previous sections. Some examples may include the items below, among others, a. Skills Development - Availability of Certificate or Degree Programs in Festival & Event Management through a Local University or Private Provider b. Members of Your Event Community Who Currently Hold a Certified Festival & Event Executive (CFEE) Designation c. Secondary School System Graduation Requirements that Encourage Volunteerism and Community Service during Festivals and Events d. A Festival and Event Shared Resource Program in Your City (For example: shared warehousing, office space, equipment, staff, etc.) e. Efforts to Actively Recruit New Events to Your City (Please include reference to any applications made/secured if this area pertains) f. Other Creative Endeavors

IFEA World Festival & Event City Award© APPLICATION Entry Deadline: 5:00 p.m. (MST) Monday, July 1st, 2013 Submit Entries, Entry Form and Payment to: IFEA World Festival & Event City Award© 2603 Eastover Terrace, Boise, Idaho, 83706 USA Phone: +1-208-433-0950 ext: 3 – nia@ifea.com

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

❍ Africa ❍ Asia ❍ Australia / New Zealand ❍ Europe ❍ Latin America ❍ The Middle East (MENASA) ❍ North America Note: Politically connected islands and territories should choose the region of their most direct affiliation. ❍ Other (If you choose ‘Other’ please clearly specify location below.) __________________________________________________________________________________________________________________________ Population Level (select one):

❍ Under 1 million ❍ Over 1 million

PRIMARY CONTACT INFORMATION (Please print clearly) The following information should pertain to the primary individual with whom the IFEA should communicate with, as necessary, throughout the award judging and selection process. Name: ___________________________________________________________ Title: __________________________________________________ Organization: ______________________________________________________________________________________________________________ Mailing Address: ___________________________________________________________________________________________________________ City, State, Country, Postal Code: _____________________________________________________________________________________________ Phone (Business): _________________________________________________ Phone (Mobile): _________________________________________ Fax: _____________________________________________________________ E-Mail: _________________________________________________ Note: The Applicant City will receive a complimentary membership for one year in IFEA through our appropriate global affiliate. If different from the Primary Contact please let us know who should receive this membership.

RELEASE & USAGE

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

• Winning applicants agree that the IFEA may use their City name and representative photos in all press releases and program marketing materials, both hard copy and electronic versions. • Your entry into the competition is acknowledgement of these terms.

PAYMENT TOTAL

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

PAYMENT INFORMATION Please select your method of payment:

❍ VISA

❍ MasterCard

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

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

DID YOU REMEMBER TO:

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

❍ Submit a three (3) minute video presentation representing your city? ❍ Submit a one (1) page introductory letter stating why your City should be selected to receive the IFEA World Festival & Event City Award©? ❍ Submit your overall completed IFEA World Festival & Event City Award© Entry providing responses and supporting information for Sections 1-6? Is this entry submitted as one (1) singular entry piece/document/ PowerPoint/Pdf, etc.? Is this entry provided on a disk, USB Flash Drive or electronically in a Word, PowerPoint, PDF or other standard format?

2013 IFEA Webinar Series

IFEA is pleased to present our 2013 Webinar Series! Offering online educational sessions hosted by industry leaders and special guests, the IFEA Webinar series covers a wide variety of topics important to your organization’s success. Webinars are easy to attend . . . just view and listen to the presentation online from the comfort of your own computer - without even leaving your desk! No Travel Expense Required. Can’t make the live presentation of the Webinar? All Live webinars are recorded and are available for 7 days following the live presentation to watch at your leisure. What better way to receive great educational information by great presenters while saving both time and travel expenses! Registering for a Webinar: Live Webinars are available for purchase via any of the following methods: • Online at the IFEA Bookstore & Resource Center • Faxing or mailing in the Webinar Registration Form ❍ (See separate brochure/registration form for Webinars on Demand) • Calling the IFEA at +1-208-4330950 ext: 3 Webinar Start Time in Your Time Zone: 7:00 a.m. Hawaii 9:00 a.m. Alaska 10:00 a.m. Pacific 11:00 a.m. Mountain 12:00 p.m. Central 1:00 p.m. Eastern 6:00 p.m. GMT Webinar Length: 60 Minutes Individual Webinar Cost: • $59 - IFEA Members • $59 - Association Alliance Members

• $79 – Festival & Event Ontario Members • $99 - Non-IFEA Members Registration cost is per computer site for as many people as you can sit around your computer. Gather additional staff, volunteers, or board members around your computer so they too can join you for this learning experience at no additional charge! Buy More, Save More Webinars in Bulk Pricing: The more Webinars purchased, the more available for free. May combine Live Webinar Presentations and Pre-Recorded Webinars on Demand to take advantage of this special offer. See separate Webinars On Demand Brochure for On Demand schedule. (Call, Mail or Fax orders only, not available for online purchasing) • BUY 3 Webinars and Receive 1 FREE • BUY 5 Webinars and Receive 2 FREE • BUY 10 Webinars and Receive 5 FREE Questions? Contact: Nia Hovde, Director of Marketing & Communications at: nia@ifea.com

© Copyright 2013. The presentation, materials and content of these Webinars are the intellectual property of the International Festivals & Events Association (IFEA) and the specific presenter for each webinar. They are presented for the educational use of each paying customer to the IFEA. Any reproduction, rebroadcast or reselling of this webinar, or the content contained within, by an outside party, without the expressed written consent of the IFEA is strictly prohibited.

2013 IFEA WEBINAR SCHEDULE THURSDAy, JANUARy 17TH, 2013 Building a Business Plan for Future Success Penny Reeh, CFEE, President & CEO Fredericksburg, Chamber of Commerce, Fredericksburg, TX CFEE Elective Credit: Leadership/Management Skills THURSDAy, JANUARy 31, 2013 Practical Advice for Promoting Events Online Doug Rasch, Director of Online Marketing Edgeworks Group, Irvine, CA CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, FEBRUARy 14, 2013 Rock Star Strategies for Sponsorship Success Stephanie Donoho, CFEE, Tourism Specialist Department of Research and Development, County of Hawaii, Hilo, HI CFEE Elective Credit: Economic Impact THURSDAy, FEBRUARy 28, 2013 Merchandise 101: Kick Starting a Merchandising Program Built for Results Stephen King, CFEE, Executive Director Des Moines Arts Festival, Des Moines, IA CFEE Elective Credit: Creativity & Innovation THURSDAy, MARCH 14, 2013 Beyond Your Local Bands – Taking the Next Step in Booking Entertainment Paul Jamieson, CFEE, Executive Director SunFest of West Palm Beach, FL CFEE Elective Credit: Leadership/Management Skills THURSDAy, ApRIL 11, 2013 The Foundations of Leadership: “They” KNOW it When “They” SEE it! Gail Alofsin, Director of Corporate Partnerships Newport Harbor Corporation, Newport, RI CFEE Elective Credit: Leadership/Management Skills THURSDAy, ApRIL 18, 2013 Enhancing Sponsorship ROI - Using New Technologies to Connect Your Audiences and Sponsors Bruce Erley, CFEE, APR, President & CEO Creative Strategies Group, Broomfield, CO CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, ApRIL 25, 2013 Having History Repeat Itself! (The Good Parts) Ted Baroody, President Norfolk Festevents, Norfolk, VA CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, MAy 9, 2013 Making Sure the Party is Safe – New Regulations for Special Events in the City of Ottawa Delores MacAdam, Manager of Licensing Programs and Special Events City of Ottawa Events Central Branch, Ottawa, ON, Canada Valerie Bietlot, City Solicitor, Ottawa, ON, Canada CFEE Elective Credit: Leadership/Management Skills THURSDAy, MAy 16, 2013 Trends and Techniques In Food and Beverage Programs Domenick Fini, Vice President of Finance and Marketing Norfolk Festevents, Norfolk, VA CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, MAy 30, 2013 60 Ideas in 60 Minutes Gail Bower, President Bower & Co. Consulting, Philadelphia, PA CFEE Elective Credit: Creativity & Innovation THURSDAy, OCTOBER 17, 2013 Signal Strength… Building Trusted Media Relationships Jeannie McFarland Johnson, Media & Marketing Director Creative Strategies Group, Broomfield, CO CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, OCTOBER 24, 2013 Emergency Plans: What’s Your Level of Preparedness? Terry Powers, Vice President, Operations 500 Festival, Indianapolis, IN CFEE Elective Credit: Leadership/Management Skills THURSDAy, NOvEMBER 7, 2013 The Role of the Board -- Inside and Outside of the Board Room Mitch Dorger, Principal Dorger Consulting, Pasadena, CA CFEE Elective Credit: Leadership/Management Skills THURSDAy, NOvEMBER 14, 2013 Branding For Your Festival and Event Ira Rosen, CFEE, President & CEO Entertainment On Location, Point Pleasant, NJ CFEE Elective Credit: Creativity & Innovation

Thursday, January 17th, 2013 Building a Business Plan for Future Success Penny Reeh, CFEE President & CEO Fredericksburg, Chamber of Commerce Fredericksburg, TX CFEE Elective Credit: Leadership/Management Skills

Many events today (new and long-running) find themselves in a similar position... looking to the future with a need to create (or re-create) an event that serves changing audiences, changing communities and in the end, makes money. This important workshop will focus on the planning processes necessary to build a profitable event. Learn how to create a written business plan that will provide organizational clarity and higher efficiency. You’ll take home dozens of ideas that will help your next event be better, happier and more profitable than ever before! Penny Reeh, CFEE is the President/ CEO of the Fredericksburg Chamber of Commerce. Prior to her position with the Chamber, she was the founder and owner of Indigo Resource Group, a company that provided marketing, management and presentation products. Her company managed the Texas Festivals and Events Association and the Texas Association of Fairs and Events. She also served as the Director for Business Development for the International Festivals and Events Association and continues to perform a variety of consulting and contract projects for the organization.

Thursday, January 31, 2013 Practical Advice for Promoting Events Online Doug Rasch, Director of Online Marketing Edgeworks Group Irvine, CA CFEE Elective Credit: Current Industry Issues & Trends

Practical advice for promoting Events online drawn directly from recent relevant marketing campaigns, including a review of tools, approaches and tactics based on real world results. We’ll also take a peak forward; it’s a new year and that means New Social Media, Changes at Google, Ongoing Mobile Device Adoption, Evolving Online Behavior, and advancing technology. The rapid rate of change in the digital space can be disconcerting, but this webinar with drill down through the noise, to the key trends and new opportunities that will help you grow attendance in 2013. 2

IFEA WEBINAR SERIES

2012

Doug Rasch, a decorated US Marine, found that the combination of his academic background in Math, and an early career in managing live theater, provided the odd mix of skills needed in web Marketing. Doug, with professional adverting certifications from Google and Bing, spent five years marketing events and live theater in Southern California, before moving to Edgeworks Group in 2008, where he is currently the Director of Online Marketing. Doug regularly speaks at webinars and conferences across the country, sharing his experiences with SEO, Online Advertising, Social Media Management, Mobile Marketing, Facebook App development, and Website Usability Tracking & Analysis.

Thursday, February 14, 2013 Rock Star Strategies for Sponsorship Success Stephanie Donoho, CFEE Tourism Specialist Department of Research and Development County of Hawaii, Hilo, HI CFEE Elective Credit: Economic Impact

Rock Star event planners know that preparation, research and delivery are the keys to a successful sponsorship program. This webinar will provide a stellar overview of the strategies needed to transform your events into platforms that allow each of your sponsors to become the Rock Stars of their respective industries. Invite a few of your key sponsors, as well as your fundraising committee to join you on this webinar so that you can collectively take your event sponsorship program to the next level! Stephanie Donoho, CFEE, is the Tourism Specialist for the Island of Hawaii. She manages more than $1.5 million in Hawaii Tourism Authority and Hawaii County general funds that are invested annually in tourism marketing and product development, including partnership with dozens of world-class festivals and events. Prior to her service in Hawaii, she was the Executive Director of the Clear Creek County Tourism Bureau in Idaho Springs, Colorado. She has also worked on the fundraising and development teams for Colorado Ballet, the Eleanor Roosevelt Institute for Biomedical Research (both in Denver, Colorado) and for Good Hope School (Frederiksted, St. Croix, US Virgin Islands). She got her start in the industry holding pizza and candy bar sales to support her high school marching band’s efforts to perform at 1984 World’s Fair in New Orleans, Louisiana, and has been an avid events geek ever since.

Spring 2013

Thursday, February 28, 2013 Merchandise 101: Kick Starting a Merchandising Program Built for Results Stephen King, CFEE Executive Director Des Moines Arts Festival Des Moines, IA CFEE Elective Credit: Creativity & Innovation

Are you new to merchandise? A seasoned professional? Let’s start at the beginning and work our way through what makes a merchandise program successful. Where to start. How to target your customers. Determine your market. Research new merchandise ideas. How to sell, sell, sell. Stephen M. King, CFEE, is the executive director of the Des Moines Arts Festival® in Des Moines, Iowa. Projects throughout his career in events have garnered more than 160 industry awards from the likes of the International Festivals and Events Association and the International Downtown Association. He is currently serving on the board of directors of the International Festivals & Events Association Foundation Board and the National Association of Independent Artists, and a founding member of ZAPPlication™.

Thursday, March 14, 2013 Beyond Your Local Bands – Taking the Next Step in Booking Entertainment Paul Jamieson, CFEE Executive Director SunFest of West Palm Beach, FL CFEE Elective Credit: Leadership/Management Skills

Taking your events entertainment from local bands to national caliber acts can be a complex and often confusing process. Learning the business of booking national acts is the first step in doing this well...and determining what is right for you. All the key aspects will be covered, so those new to the “music business” and those with some experience should both benefit. Paul Jamieson, CFEE is the Executive Director of SunFest, one of the Southeast’s largest music festivals. Beginning in 1983 with mainly local entertainment, SunFest has grown to now have a budget of $1.7m for national talent in 2013. For a look at the festival and to view what types of acts have played in the past, visit www.sunfest.com.

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Thursday, April 11, 2013 The Foundations of Leadership: “They” KNOW it When “They” SEE it! Gail Alofsin, Director of Corporate Partnerships Newport Harbor Corporation, Newport, RI CFEE Elective Credit: Leadership/Management Skills

Wherever you are on the “leadership ladder,” this webinar will assist you in cultivating the characteristics, skills and vision you need to lead people. Focused on the importance of internal and external leadership perception and the foundations that lead to effective execution, this webinar will also review “Best Practices” in both written and verbal communication. You, as a leader, set the foundation and your team and colleagues will “know” it as they “see” it. Gail Lowney Alofsin is the Director of Corporate Partnerships for Newport Harbor Corporation, a leading hospitality company based in Newport, Rhode Island. From 1988 - 2004, Alofsin served as the Director of Sales, Marketing and Public Relations of the Newport Yachting Center, a division of Newport Harbor Corporation, developing the waterfront event site from one national event to five national events while increasing corporate partnership sales 5700%! Alofsin is a 1984 graduate of Tufts University in Medford, Massachusetts where she focused on International Relations at the Fletcher School of Foreign Diplomacy. In addition to her full time sales and marketing position at Newport Harbor Corporation, Alofsin serves as an adjunct professor at the University of Rhode Island – teaching classes focused on communication, marketing and public relations.

Thursday, April 18, 2013 Enhancing Sponsorship ROI Using New Technologies to Connect Your Audiences and Sponsors Bruce Erley, CFEE, APR President & CEO Creative Strategies Group, Broomfield, CO CFEE Elective Credit: Current Industry Issues & Trends

There is a growing trend in sponsors’ desire for more digital access to an event’s audience through social media outlets that go well beyond the passive logo and link from the event website, Further, digital activations can provide track-able and measurable ROI sponsor need to justify sponsorship fees. How can 78

you develop and leverage your digital assets to work harder for you sponsors. What are some examples of creative digital solutions other events have employed? Bruce Erley, CFEE is a 30-year veteran of the event marketing and sponsorship field and is regarded as a leading sponsorship expert for the festivals industry. He founded Creative Strategies Group (CSG) in 1995. Prior to that time, Bruce was the Vice President for Marketing and Sales for the International, educational and cultural organization, Up with People, where he directed sponsor sales, entertainment marketing and merchandising operations. At Creative Strategies Group, Bruce conducts all general consultation, including the development of property audits, sponsorship plans, corporate sponsorship programs and training, as well as directs CSG’s ongoing operations. Erley is widely acclaimed as a top presenter on sponsorship topics for the festivals and events industry.

Thursday, April 25, 2013 Having History Repeat Itself! (The Good Parts) Ted Baroody, President Norfolk Festevents, Norfolk, VA CFEE Elective Credit: Current Industry Issues & Trends

The past year of special events has been more than interesting with a series of amazing memories, some crazy moments and sadly some tragedy. We can learn a lot from history – how do you handle a sporting event that must go on, but the spectators are not allow to attend due to safety? What are the best practices for cancelling an outdoor concert? Did you know a funny accident can become a great social media public relations campaign? This webinar will review ten events – What can we learn from their success and failures? Let’s try to make the good pieces of history repeat themselves! Ted Baroody is a graduate of North Carolina State University, Raleigh, North Carolina, USA. After college he moved to Norfolk, Virginia to start his own small sports marketing company, Victory Promotions. After a couple of years of power boat racing production under Victory Promotions, he served as Marketing Director for a group of local radio stations in Virginia Beach, Virginia for 5 years. From 1996 to 2011 he was the Director of Development of the not-for-profit event marketing company, Norfolk Festevents, Ltd. known as “Festevents,” and is now the President of Festevents. Ted also works with many non-profit organizations as a volunteer, event coordinator and as a board member and is on the IFEA Foundation Board of Directors.

IFEA’s ie: the business of international events

Spring 2013

Thursday, May 9, 2013 Making Sure the Party is Safe – New Regulations for Special Events in the City of Ottawa Delores MacAdam, Manager of Licensing Programs and Special Events City of Ottawa Events Central Branch Ottawa, ON, Canada Valerie Bietlot, City Solicitor Ottawa, ON, Canada CFEE Elective Credit: Leadership/Management Skills

By the end of the 1st Quarter of 2013, the City of Ottawa, Ontario, Canada will have confirmed their new Special Events By-Law creating a common framework within which Events Managers, City Event Staff, City Services (such as Public Works and Emergency Services) as well as citizens, can function successfully. In so doing, the By-Law provides the mechanisms to stimulate economic prosperity, create financial responsibility and provide service excellence as indicated in the Term of Council Priorities. Additionally, the By-Law ensures safety for the event organizers, event participants, local community and the City by requiring event organizers to prepare emergency plans and response frameworks within the proposed permit application and issuance process. This new Special Events By-Law is a unique and positive approach to events management and can be applied to cities and events around the world. Delores MacAdam is the Manager of Licensing Programs and Special Events for the City of Ottawa Events Central Branch (Special Events and Corporate Volunteer Program). She is involved in all phases of design, planning, execution and evolution of over 250 local, national and international events per year. With 30 years of experience in community planning and development at the municipal and provincial level, she is responsible for engaging political leaders, local business & community groups, professional entertainment and sporting entities, as well as knitting together dozens of local and worldwide events for celebration. For the past year, she has worked with consultants from various North American cities to develop a software program for events which will be launched February 1st, 2012. She will also be bringing to the City of Ottawa Council a Special Events By-law that has been designed to address the needs of government (compliance) and event organizers in terms of process, transparency and fairness.

2012

IFEA WEBINAR SERIES

Thursday, May 16, 2013 Trends and Techniques In Food and Beverage Programs Domenick Fini Vice President of Finance and Marketing Norfolk Festevents, Norfolk, VA CFEE Elective Credit: Current Industry Issues & Trends

Are you looking for new ideas or do you just want to evaluate your food and beverage program? Food trucks, gluten free and vegan menus are all the rage but how much attention should you give these trends? Learn basics of vendor locations and their effect on the bottom line. Share ideas and discuss your current program with industry peers. Domenick Fini is the Vice President, Sales and Marketing at Norfolk Festevents, Ltd. in Norfolk, Virginia. Domenick has been with the non-profit organization for 18 seasons and his responsibilities include food and beverage, retail, admission and ABC on-site sales as well as public relations, advertising, promotions, website, social media and anything else that needs attention. Norfolk Festevents produces hundreds of events at multiple venues annually for the City of Norfolk with the highlight being OpSail 2012 Virginia in June 2012.

Thursday, May 30, 2013 60 Ideas in 60 Minutes Gail Bower, President Bower & Co. Consulting Philadelphia, PA

Has your mojo made off with your motivation? Feeling stale and stagnant? A little bored with your event? This webinar is for you. Event, marketing, and sponsorship strategist Gail Bower will help you get your groove back with 60 Ideas in 60 Minutes. From making money to marketing, programming to VIP perks, corporate sponsorship to customer service, environmentalism to envisioning your festival’s future, we’ll cover it all. Trick out your 2013 event or festival with new ideas and who knows where your life will go next! Just one idea can make all the difference.

IFEA WEBINAR SERIES

Thursday, October 17, 2013 Signal Strength… Building Trusted Media Relationships Jeannie McFarland Johnson, Media & Marketing Director Creative Strategies Group, Broomfield, CO CFEE Elective Credit: Current Industry Issues & Trends

During this multi-media presentation you’ll learn to collaborate with all media types (TV, radio, print & outdoor) to leverage your event’s resources (and not just cash) into a powerful marketing impact. We’ll uncover the subtle techniques of working with sales, promotions & editorial departments of media outlets to set your event message apart from other advertisers. See tangible examples and get the tools you need to bring these dynamic programs to life. Jeannie McFarland Johnson, Director of Media & Marketing at Creative Strategies Group, has worked in the event marketing field for more than a dozen years creating dynamic and effective relationships for her clients with all types of media outlets including television stations, radio clusters, newspapers, magazines, outdoor advertising companies and new media digital assets. Her vast experience and broad understanding of the unique needs of the media and event industries have given rise to her strategic hybrid approach to media planning and implementation. She specializes in media sponsorship negotiations, promotionally leveraged media buying and public relations.

Thursday, October 24, 2013

CFEE Elective Credit: Creativity & Innovation

Gail Bower’s 2013 Great event iDeas ChallenGe Have you got a great event idea you’re just dying to share? Enter the Great Event Ideas Challenge. Event, marketing, and sponsorship strategist Gail Bower invites you to submit your ideas. She’ll select the best ones, for a maximum of 60 ideas, and profile them, on May 30, 2013, in this IFEA webinar “60 Ideas in 60 Minutes.” No purchase required to enter. From the best entries, one grand prizewinner will be selected. The winner will receive one complimentary IFEA webinar of your choice (a $99 value) and a complimentary one-hour coaching call with Gail (a $500 value). Categories may include: children’s activities, customer service, decor, environment-friendly, event/ festival concept, food, fun things to do, graphics, logistics, marketing, merchandise, money-making ideas, operations, programming, PR, risk management, security, site design, social media, sponsorship, VIP, volunteer management, and the wildcard category (in case your idea doesn’t fit any listed category). For details or to complete the form go to: http://tinyurl.com/GreatEventIdeasChallenge and submit your idea and 100-word description. Include your name, organization or event name. Additionally, please email a great photo to illustrate the idea to Gail@GailBower.com. Deadline to enter: May 1, 2013 - All winners will be profiled in the webinar. One grand prizewinner will be selected.

2012

Gail Bower helps organizations dramatically raise their visibility, revenue, and impact. She’s a professional consultant, writer, and speaker, with nearly 25 years’ experience managing some of the country’s most important events, festivals and sponsorships. Independent since 1987, today Bower & Co. improves the effectiveness and results of clients’ marketing strategies, events/festivals, and corporate sponsorship programs. She’s the author of a guidebook for sponsorship sellers, entitled How to Jump-start Your Sponsorship Strategy in Tough Times, and blogs about sponsorship at SponsorshipStrategist.com. Visit her web site at GailBower.com.

Spring 2013

Emergency Plans: What’s Your Level of Preparedness? Terry Powers Vice President, Operations 500 Festival Indianapolis, IN CFEE Elective Credit: Leadership/Management Skills

Every event, large and small should be prepared, should something not go as planned. In this webinar learn the basic elements of emergency planning and increasing your level preparedness. This webinar will cover: • Developing a working group/planning team • Working with your local Department of Public Safety • Identifying Risks • Developing a plan • Hierarchy of control • Plan Activation

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Terry Powers is the Vice President of Operations at the 500 Festival in Indianapolis, IN and is now in his 10th year with the organization. As VP of Operations, Terry is responsible for the planning and production of the 500 Festival’s 50+ events and programs which reach over 500,000 people annually, including a nationally televised Parade and the nation’s largest half marathon with over 35,000 participants.

Thursday, November 7, 2013 The Role of the Board – Inside and Outside of the Board Room Mitch Dorger, Principal Dorger Consulting Pasadena, CA CFEE Elective Credit: Leadership/Management Skills

Board members are extremely dedicated people that give countless hours to their organizations. But in many cases board members, especially new board members, suffer because they were never given a solid introduction to their responsibilities on the board. This session will examine the responsibilities of board

members both inside the board room and outside the board. Both of these are important and many board members, even experienced ones, do not understand that their responsibilities to the organization extend beyond the board room door. This session will be valuable for senior organizational staff members as well as senior members of the board including board chairs and committee chairs. Mitch Dorger brings more than 40 years of work experience to his consulting practice including 20 years as a chief executive officer, most recently with the Pasadena Tournament of Roses. His experience as a CEO was consistently characterized by successful performance improvement programs and high employee morale and achievement. He believes the fundamental goal of leadership is to inspire teamwork and the spirit of continuous improvement. He has recent expertise in the world of non-profit organizations and is well versed in corporate governance, volunteer management, financial planning and management, government relations, and large event management. As a public speaker he has lectured on non-profit organizational management, strategic planning, change management and leadership. He has also served as a keynote speaker for four different festival and event association conventions.

Webinars On Demand

Looking for a different webinar topic – don’t forget to check out our Webinars OnDemand – previously recorded webinars that are now available for download. For a complete list of available Webinars On Demand, just go to the IFEA Bookstore & Resource Center.

How Webinars Work

IFEA Webinars are Website-enabled seminars that function much like a teleconference. They use your computer’s Website browser to display presentation materials and other applications important to the Webinar topic, with the audio portion of the presentation provided either through your computer speakers or over the phone. Once your registration has been submitted, you will receive an email from the IFEA confirming that you have been registered for the Webinar. The day before the scheduled Webinar, you will receive an email with specific instructions on how to log in for the Webinar. You will receive this email again, the day of the Webinar. once this information has been received, joining a Webinar is as easy as 1, 2, 3! 1. Log In To The Webinar: To start the Webinar, log in to the specific website address that you received for the Webinar and connect to the presentation. Webinars can be viewed on virtually any computer with a high-speed internet connection. 2. Listening To The Webinar: After you’ve logged in and gained access to the Website, you have two options to listen to the audio portion. You can either dial the telephone number provided to hear the webinar via a conference call, or if you have computer speakers, you may listen via your computer speakers. (The phone number provided will not be an 800 number, 80

IFEA’s ie: the business of international events

Spring 2013

Thursday, November 14, 2013 Branding For Your Festival and Event Ira Rosen, CFEE President & CEO Entertainment On Location Point Pleasant, NJ CFEE Elective Credit: Creativity & Innovation

Building a brand and brand recognition is just as important for an event as it is for a consumer product. Learn some practical tips for developing a brand strategy and delivering it to your customers. Make your event the best on your block; buy early, buy often! Ira Rosen has over 30 years of experience in the special event production field. Since founding EOL in 1989, he has worked with festivals, events, advertising agencies, governments and other clients around the world. Prior to starting EOL, Ira was an executive with Radio City Music Hall Productions, Inc. for over seven years where he was responsible for all of the company’s procurement and acted as a technical director for many major special events. Ira has spoken and written extensively on many industry topics including tourism and the festival industry, corporate sponsorship, and the operational management of special events.

so all costs for the call will be incurred by the registrant.) 3. Sit Back and Learn: Once you are logged in, all you need to do is sit back and learn! It’s just like any other seminar, except you’re sitting comfortably at your own desk! Throughout the webinar, you are able to ask questions to the presenter using the online Question/Answer messaging system that is part of the Webinar screen. The Webinar Organizer will view your question and present it to the speaker at the end of the presentation. Along with the Webinar itself, all registered attendees will receive a copy of the presentation used for the webinar prior to the webinar start time in addition to the recorded copy of the webinar after the webinar presentation.

System Requirements For PC-based participants: • Internet Explorer® 7.0 or newer, Mozilla® Firefox® 3.0 or newer or Google™ Chrome™ 5.0 or newer (JavaScript™ and Java™ enabled) • Windows® 7, Vista, XP or 2003 Server • Cable modem, DSL, or better Internet connection • Minimum of Pentium® class 1GHz CPU with 512 MB of RAM (recommended) (2 GB of RAM for Windows® Vista) For Mac®-based participants: • Safari™ 3.0 or newer, Firefox® 3.0 or newer or Google™ Chrome™ 5.0 or newer (JavaScript™ and Java™ enabled) • Mac OS® X 10.5 – Leopard® or newer • Intel processor (512 MB of RAM or better recommended) • Cable modem, DSL, or better Internet connection 2012

IFEA WEBINAR SERIES

IFEA

Webinar Series

Upcoming Live Webinar Presentation Registration Form

REGISTRATION CONTACT INFORMATION Webinar Participant: ___________________________________________________________________________________________________________ Webinar Participant Email: _______________________________________________________________________________________________________ Organization: ________________________________________________________________________________________________________________ Address: __________________________________________________________________________________________________________________ City, State/Province, Zip Code: ______________________________________________________________________ Phone: _________________________ PURCHASE INFORMATION

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2013 UPCOMING LIVE WEBINARS: To register please make your selection by checking (√) from the webinars below:

❍ Thursday, January 17th, 2013

❍ Thursday, April 11, 2013

❍ Thursday, May 16, 2013

❍ Thursday, January 31, 2013

❍ Thursday, April 18, 2013

❍ Thursday, May 30, 2013

Building a Business Plan for Future Success Penny Reeh, CFEE, Fredericksburg, Chamber of Commerce Practical Advice for Promoting Events Online Doug Rasch, Edgeworks Group

❍ Thursday, February 14, 2013

Rock Star Strategies for Sponsorship Success Stephanie Donoho, CFEE, Department of Research and Development, County of Hawaii

❍ Thursday, February 28, 2013

Merchandise 101: Kick Starting a Merchandising Program Built for Results Stephen King, CFEE, Des Moines Arts Festival

❍ Thursday, March 14, 2013

Beyond Your Local Bands – Taking the Next Step in Booking Entertainment Paul Jamieson, CFEE, SunFest of West Palm Beach

The Foundations of Leadership: “They” KNOW it When “They” SEE it! Gail Alofsin, Newport Harbor Corporation Enhancing Sponsorship ROI - Using New Technologies to Connect Your Audiences and Sponsors Bruce Erley, CFEE, APR, Creative Strategies Group

❍ Thursday, April 25, 2013

Having History Repeat Itself! (The Good Parts) Ted Baroody, Norfolk Festevents

❍ Thursday, May 9, 2013

Making Sure the Party is Safe – New Regulations for Special Events in the City of Ottawa Delores MacAdam & Valerie Bietlot, City of Ottawa Events Central Branch

Trends and Techniques In Food and Beverage Programs Domenick Fini, Norfolk Festevents 60 Ideas in 60 Minutes Gail Bower, Bower & Co. Consulting

❍ Thursday, October 17, 2013

Signal Strength… Building Trusted Media Relationships Jeannie McFarland Johnson, Creative Strategies Group

❍ Thursday, October 24, 2013

Emergency Plans: What’s Your Level of Preparedness? Terry Powers, 500 Festival

❍ Thursday, November 7, 2013

The Role of the Board – Inside and Outside of the Board Room Mitch Dorger, Dorger Consulting

❍ Thursday, November 14, 2013

Branding For Your Festival and Event Ira Rosen, CFEE, Entertainment On Location

Registration cost is per computer site for as many people as you can sit around your computer. Once your registration has been submitted, you will receive an email from the IFEA confirming that you have been registered for the Webinar. The day before the scheduled Webinar, you will receive an email with specific instructions on how to log in for the Webinar. You will receive this email again, the day of the Webinar. Webinars in Bulk offer is applicable to both Upcoming Live Webinar Presentations and Pre-Recorded Webinars On Demand. Payment must be received in full at time of registration to participate in Webinars. No refunds on webinar registration unless notified 24 hours prior to start of webinar.

Live webinars are recorded and are made available for 7 days following the live presentation.

International Festivals & Events Association • 2603 W Eastover Terrace • Boise, ID 83706 - U.S.A. Spring 2013 IFEA’s ie: the business of international events 81 Questions: Contact Nia Hovde, Director of Marketing & Communication at nia@ifea.com or Phone: +1-208-433-0950 ext: 3, Fax: +1-208-433-9812 • www.ifea.com

THE BOARD TABLE

So Many Hats To Wear In January I was fortunate to be part of an IFEA team that conducted a weeklong Event Management School, followed by an IFEA World Board meeting at Ogelbay Resort in Wheeling, West Virginia. IFEA has created a new two-year interdisciplinary program with the National Recreation and Parks Association (US) which is designed to bring the latest trends and best practices to industry professionals in a concentrated, focused environment over a week’s time. What a great group! Whenever you have that many event planners in one place, the energy, creativity and enthusiasm gauge goes off the chart. We are so fortunate to be in a profession that is filled with people who have so much passion for and dedication to what they produce. While the year one class attended one-hour classes that covered the fundamentals of each area of focus, the year two attendees spent their mornings engaged in comprehensive sessions and then worked in teams to create a new event for an IFEA World Festival & Event City Award winning city. Described by Steve Schmader as part “Who Wants to be a Millionaire” and part “Celebrity Apprentice,” the event teams had resources from the IFEA Festival & Event City Award winners at their disposal to aid them in their event research and development. A comprehensive exercise in project management, the week culminated in a formal presentation that “pitched” the event to the IFEA judges. Overall, the process exemplified what makes our industry so vibrant and extraordinary. To be successful, we must be master developers and producers who are educated in the elements of many diverse and specialized professions. We not only apply our own skills to producing events but there are always several wild cards that occur and have to be managed to insure positive outcomes. We have to be able to interact and partner effectively with people from many professions and walks of life, including

IFEA’s ie: the business of international events

Spring 2013

government officials, vendors, sponsors, entertainers, volunteers, etc. When I attend conferences or teach seminars I always take away new perspectives, ideas and insights into the festival and event industry. However, the most profound realization that I gained at the IFEA/NRPA Event Management School, was that event planners embody a set of skills and knowledge that is universal to all professions. What other profession integrates so many specialized areas of knowledge, marketing, sales, logistics, programming, sponsorship, concessions, contingency planning, finance, and operations to name a few? We are required to wear many hats and possess a broad set of skills that are universal. Festival and event professionals are masters of successfully integrating all of these elements into one cohesive event while making it appear effortless. It is this broad based application of knowledge and expertise that separates you from other professionals and makes you such exceptional leaders. What a powerful testament to each of you and your many accomplishments. So the next time someone asks you what you do the rest of the year, tell them that you are busy trying to find a place to put all the different hats that you wear ever day! Here’s to another great year in the festival industry! BECKY GENOWAYS, CFEE 2013 IFEA World Board Chair Memphis in May International Festival Memphis, TN U.S.A. Email: beckyhawley@aol.com Continued from page 12

dinner with the family, catching up on everyone’s busy lives and giving my five-month old grandson lots of hugs and kisses. Another favorite pass time is watching my youngest son’s musical performances and playing lacrosse…last one in high school. Other Background Experience Guest presenter for various professional associations, organizations and colleges as well as involvement in mentor programs for students entering the events industry. I am passionate about teaching and sharing professional learnings and experiences. What’s the best advice you’ve ever received? Fortunate enough to learn this very early on… ‘Before starting something, keep the end in mind.’ As it relates to planning an event, consider first, the outcome…what experience or reaction do you want people to walk away with…what would you want the headline in the media to state after the event? Keeping this in mind helps you as you develop the programming and messaging of the event. What is your personal philosophy? “Sharpen the saw.” Take time to renew, personally and professionally. Continue to grow and learn.

TO OUR SPONSORS ASSOCIATION PARTNERS

ASSOCIATION SPONSORS

ASSOCIATION SUPPORTERS

For IFEA sponsorship opportunities, contact Sylvia Allen, Director of Partnership Marketing at (732) 946-2711 or sylvia@ifea.com

FOUNDATION

How Can You Get Involved? A few weeks ago, I was fortunate enough to spend time at the IFEA/NRPA’s Event Management School at Oglebay National Training Center in Wheeling, West Virginia. The school had around 100 students from various city and county parks departments, military bases and festivals around the country. As I was interacting with the students, I was once again reminded how lucky I am to work in an industry that has so many passionate people who enjoy their work, are comfortable sharing their “trade” secrets and love to tell their event’s story. I am honored and humbled to serve as the 2013 IFEA Foundation Board Chair. The IFEA Foundation is an entity of IFEA, which supports the mission and vision of IFEA, by providing financial support that allows the organization to fulfill its educational and sustainability goals. It is a pleasure to work with the talented event professionals that make up the IFEA Foundation Board of Directors, and the dedicated IFEA Staff led by Steve Schmader, CFEE. The Foundation supports the IFEA through two giving campaigns. If you have been to an IFEA Annual Convention & Expo before, you have no doubt attended “The Foundation Night Auction & Party,” held one evening during the convention. In addition to funding educational resources and opportunities at the IFEA, a portion of the proceeds from the Live and Silent Auction help support the Foundation’s Legacy Scholarship Program. Created when an individual or groups of individuals choose to honor a professional peer for their outstand-

IFEA’s ie: the business of international events

ing dedication to our industry; to pay lasting tribute to a loved one or professional colleague that has passed away; or to insure the continued professional growth of those serving our industry in their region of the world or professional niche of our industry, an IFEA Foundation Legacy Scholarship is a special way to connect tomorrow’s professionals with those who have paved the way for us all. To learn more about the IFEA Foundation’s Legacy Scholarships and how to apply, click here. The second giving program through the IFEA Foundation is the ”Fund for the Future” Campaign, a joint fund raising campaign through the IFEA Foundation and the IFEA World Board of Directors with its mission being to help ensure the longevity of the IFEA. Recognizing the importance of the role that we play, the IFEA Foundation and IFEA World Boards, working together, have chosen to use the current market environment and changing times as an opportunity to strengthen our programs and services and to ensure that the IFEA will continue to lead, serve and support our industry, especially when it is in need, for many years to come. To learn more about the “Fund for the Future” Campaign and how to donate, click here. What can you do to help or be more involved with the IFEA Foundation? The largest IFEA Foundation fundraiser takes place at the IFEA’s Annual Convention & Expo, this year in Pittsburgh, PA, September 16 – 18, 2013. You can help by making a donation of any kind - an auction item or a monetary donation - each will help the IFEA Foundation continue to support the IFEA and provide valuable education opportunities to event professionals like yourself. To learn more about the IFEA Foundation Auction and how to make a donation, click here. In closing, I would like to acknowledge and thank past IFEA Foundation Chair, Jeff Curtis, CEO of the Portland Rose Festival Foundation, in Portland, Oregon, for his leadership and hard work in 2012. His success during his year as Chair has raised the bar for 2013! Additionally, I’d like to encourage you all to get involved with the IFEA Foundation in the support of the IFEA! Donate an auction item. Support the “Fund for the Future” Campaign. Create or apply for a Legacy Scholarship. But most of all, continue to create and share your event’s story! I look forward to seeing you in Pittsburgh in September!

Spring 2013

Cindy Lerick 2013 IFEA Foundation Board Chair Executive Director/President Cultural Festivals, St. Louis, MO Email: clerick@culturalfestivals.com

IFEA Foundation Legacy Scholarships Supporting and Educating the Festivals & Events Industry Since 1993. Each of the IFEA Foundation Legacy Scholarships below serve a selected audience(s) within our industry, as identified, by providing an annual scholarship to the IFEA Annual Convention & Expo (registration only). We invite you to look through the opportunities, take a moment to learn a little more about the special individuals and groups attached to each, and apply for those that you may qualify for. For more information, go to: www.ifea.com. The Nick Corda Memorial Scholarship Providing support to young/new professionals currently completing their education or with less than three years in the industry. (More Details) The Judy Flanagan Scholarship Providing support to a deserving individual/ organization whose event involves a parade. (More Details) The Georgia Festivals & Events Association Scholarship Providing support to a deserving individual/ organization from Georgia. (More Details)  The Bill & Gretchen Lofthouse Memorial Scholarship Providing support to a deserving individual/organization currently struggling with short-term economic or start-up challenges. (More Details) The Mampre Media International Scholarship Providing support to a deserving individual working with media/marketing responsibilities for an event. (More Details) The Daniel A. Mangeot Memorial Scholarship Providing support to a deserving individual/organization seeking advanced education and professional certification. This scholarship provides core curriculum registration fees toward the attainment of the IFEA’s Certified Festival & Event Executive (CFEE) designation. (More Details) The Mid-Atlantic Festival & Event Professionals Scholarship  Providing support to a deserving individual/ organization within the Mid-Atlantic United States. (More Details) The Richard Nicholls Memorial Scholarship Providing support to a deserving High School senior or College Student with a history of commitment to participating or volunteering in nonprofit events / organizations; someone who is well-rounded

in extra-curricular activities in and outside of campus life and who has a passion for helping others and/or supporting a cause that enhances the quality of life for individuals or the community at large. (More Details) The Bruce & Kathy Skinner Scholarship Providing support to young/new professionals currently completing their education or with less than three years in the industry. (More Details) The John Stewart Memorial Scholarship Providing support to a deserving individual working with technology responsibilities supporting an event(s). (More Details) The Tennessee Festival & Event Professionals Scholarship Providing support to a deserving individual/organization from Tennessee. (More Details)  The Pete Van de Putte Scholarship Providing support to a deserving individual/organization from Texas. (More Details)  The Joe & Gloria Vera Scholarship Providing support to a deserving individual/ organization from Texas. (More Details)  The Don E. Whitely Memorial Scholarship Providing support to a deserving individual/ organization whose event involves a parade. (More Details) The Kay Wolf Scholarship Providing support to a deserving individual/ organization from Texas. (More Details)  The George Zambelli, Sr. Memorial Scholarship Providing support to a deserving volunteer who has given their time and energies to their community festival/event. (More Details)

For more information about how you can sponsor an IFEA Foundation Legacy Scholarship, call +1-208-433-0950 or email Schmader@ifea.com. Spring 2013

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BANNERS/FLAGS dfest® - DIXIE FLAG EVENT SERVICES TEAM Producers of all types of flags, banners, decorations, accessories, and custom net street banners. Contact: Pete Van de Putte Jr., CFEE, President; Address: P.O. Box 8618, San Antonio, TX 78208-0618; Phone: 210-227-5039; Fax: 210-227-5920; Email: pete@dixieflag.com; Website: www.dixieflag.com. EVENT PRODUCTION PRODUCTION SERVICES INTERNATIONAL - Full service event production company founded to meet the ever-growing demand for superior quality shows. We focus on our clients individual needs on all sized productions. Denver Sales Office Street Address: 2121 S. Hudson St., Denver, CO 80222; Mailing Address P.O. Box 100382 Denver, CO 80250; Phone: 303.757.8400; Fax 303.757.8404; Boise Sales Office Street Address: 5311 Glenwood St., Garden City, ID 8371; Mailing Address: P.O. Box 140243, Garden City, ID 83714; Phone: 208.388.8400; Fax: 208.388.8404; Email: info@psiiusa.com; Website: http://www.psiiusa.com. FINANCIAL VISA / FESTIVALS.COM - Festival Transaction Services, a Festival Media Corporation company, brings true cashless transactions to festivals, fairs and community events through strategic partnerships with Visa and Bank of America Merchant Services (BAMS). Contact: Jim Shanklin; Address: 2033 Sixth Avenue-Ste 810, Seattle WA 98121; Phone: 206-3815200; Email: jshanklin@festmedia.com FIREWORKS ZAMBELLI FIREWORKS INTERNATIONALE – “THE FIRST FAMILY OF FIREWORKS!” America’s leading manufacturer and premier exhibitor of domestic and international firework displays. Spectacular custom-designed indoor and outdoor productions, electronically choreographed to music and lasers. Phone: 800-245-0397; Fax: 724-658-8318; Email: zambelli@zambellifireworks.com; Website: www.zambellifireworks.com. INSURANCE HAAS & WILKERSON INSURANCE – With more than fifty years experience in the entertainment industry, Haas & Wilkerson provides insurance programs designed to meet the specific needs of your event. Clients throughout the U.S. include festivals, fairs, parades, carnivals, and more. Contact: Carol Porter, CPCU, Broker; Address: 4300 Shawnee Mission Parkway, Fairway, KS 66205; Phone: 800821-7703; Fax: 913-676-9293; Email: carol.porter@ hwins.com; Website: www.hwins.com. 86

KALIFF INSURANCE - Founded in 1917, Kaliff Insurance provides specialty insurance for festivals, fairs, parades, rodeos, carnivals and more. We insure the serious side of fun! Contact: Bruce Smiley-Kaliff; Address: 1250 NE Loop 410 Ste 920, San Antonio TX 78209; Phone: 210-829-7634 Fax: 210-829-7636; Email: bas@kaliff.com; Website: www.kaliff.com INTERNET POINTSMAP® - PointsMap® is a program that allows you to create a personalized Google® map or custom map for your viewers. Your map is accessible to anyone with an Internet connection - even on a Mobile Phone or iPad®! Beyond finding a specific point, PointsMap® specializes in providing detailed information, directions, videos, pictures and even the ability to "Go Inside!" Address: 1100 Riverfront Pkwy, Chattanooga, TN 37402-2171; Phone: 423-267-7680; Website: www.pointsmap.com QUICKEDGE™ (EDGEWORKS GROUP LLC) - Since 1994 our mission has been to drive more business through your website. We plan, design, build, and market successful websites by integrating customized online strategies including search engine optimization, affiliate marketing, email marketing, and more. If this kind of experience and approach is what you’re looking for, we’d love to hear from you. Address: 26361 Crown Valley Parkway, Suite 203, Mission Viejo CA 92691; Phone: 866-888-7313 x701; Email: info@edgeworksgroup.com; Website: www.edgeworksgroup.com. TICKETFLY - Ticketfly is an end-to-end, cloud-based social ticketing platform for professional event promoters and venues. The Ticketfly platform provides integrated ticketing, website, social marketing and analytics tools that save time, save money and sell more tickets. Address: 75 Federal St, San Francisco, CA 94107; Phone: 415-974-1500; Website: www.ticketfly.com TICKETING EVENTBRITE - We empower you with simple but powerful tools to manage, promote, and sell out your event. It’s free to sign up and get started. Address: 651 Brannan Street, San Francisco, CA 94107; Phone: 1-888-541-9753; Email: sales@eventbrite. com; Website: www.eventbrite.com TICKETFLY - Ticketfly is an end-to-end, cloud-based social ticketing platform for professional event promoters and venues. The Ticketfly platform provides integrated ticketing, website, social marketing and analytics tools that save time, save money and sell more tickets. Address: 75 Federal St, San Francisco, CA 94107; Phone: 415-974-1500; Website: www.ticketfly.com

IFEA’s ie: the business of international events

Spring 2013

effort to improve board performance actually have more than one of the above happening within their board. It’s sad because it creates a situation whereby those boards and the individuals that comprise those boards are running in place, and like people that run in place, they are exercising, but they are not really getting anywhere in terms of improving organizational performance. I hope nonprofit leaders will take a hard look at their organizations and see if any of the above maladies exist in their organization and then take corrective action to build strong Mitch Dorger brings more than 40 years of work experience including 20 years as a chief executive officer (most recently with the Pasadena Tournament of Roses) to his Consulting Practice. His experience as a CEO was consistently characterized by successful performance improvement programs and high employee morale and achievement. He believes the fundamental goal of leadership is to inspire teamwork and the spirit of continuous improvement. He has recent expertise in the world of non-profit organizations and is well versed in corporate governance, volunteer management, financial planning and management, government relations, and large event management. As a public speaker he has lectured on non-profit organizational management, strategic planning, change management and leadership. He has also served as a keynote speaker for four different festival and event association conventions. Mitch Dorger, Principal Dorger Executive Consulting Pasadena, California mitch@dorger.com

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