ie: the business of international events - Spring 2016 by International Festivals & Events Association

the business of international events

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the business of international events

F E ATU R E S

Eliminating Parking Headaches with Technology 5 Steps to Selling More Sponsorships to Experiential Marketing Tours Is It Worth the Expense to Accept Credit Cards at My Event?

On the Cover: Festival goers admire the city skyline from several rooftops during The Rotterdam Rooftop Days. Patrons can enjoy amazing views, explore unfamiliar places, and join in the special activities for the whole family on the city’s rooftops.

DEPARTMENTS 10 President’s Letter

The Ultimate Reputation Guide for Job Seekers Part 1 of 2 by Jessica Merritt

Eliminating Parking Headaches With Technology by James Maglothin

Getting Your Volunteer Screening Right: by Verified Volunteers

Choosing an Efficient and Effective Online Volunteer Management System By Florence May and Tammy Parent

5 Steps to Selling More Sponsorship to Experiential Marketing Tours By Michael Bleau

Is It Worth the Expense to Accept Credit Cards at My Event? By Scott Henry

12 The Board 14 Foundation 16 The Digital Life 18 The Sponsor Doc 20 “They Said What???” 22 The Un-comfort Zone 24 Leadership at All Levels 26 Turnstiles: Marketing for Event Managers 30 Safely Does It 47 2016 IFEA Webinar Series 53 2016 IFEA Awards Applications 90 Marketplace

Spring 2016, Volume 27, 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.

PRESIDENT’S LETTER

Steven Wood Schmader, CFEE

THE

WORLD CHANGING IS

I just returned from our IFEA World and IFEA Foundation Board meetings in Las Vegas. During those meetings, a good portion of our focus is spent talking about the trends and issues, challenges and opportunities, that all those around the table – from every corner of the globe – have identified as something which is, may or will affect our mutual industry in the months and years ahead. Topics that we need to be aware of; perhaps provide training for; that need communicating or further discussions on a broader basis; and /or some type of intervention/ influencing on behalf of our membership and industry. The discussions are always informative, often eye-opening, sometimes surprising, but never dull. At this particular meeting the discussions covered a plethora of insights, ranging from cash management and ticketing systems to police resource limitations; personnel challenges to drones; first amendment and gun control rights to international exchange programs and the ambassadorship roles of events. We talked about how to phase-out long-standing, non-performing event components (by choice) to the unplanned political destruction of an iconic festival. We discussed the definition and expectations 10

of internal, event organizational values, as well as how to control and maximize external social media conversations. New risk management conversations, such as sexual assault incidents, were raised, as was the role that our events can and should play in helping a community/country heal from unexpected tragedies. We talked about creativity, how to answer the never-ending media question of “what’s new or different this year,” and reconsidered approaches to reach and include the full spectrum of millennials to baby boomers and more. The main take-away, not surprisingly, was that the world is changing. And it’s not going to stop. Our communities are changing; our volunteer base is changing; our city partnerships, boards and employees are changing. Government, media and sponsors are changing. Technology, venues and marketing mediums are changing. The economy is changing. Virtually every stakeholder group and how we serve/service them, partner with them or entertain them is changing. And our events must change as well. The one constant in all of the above – other than ‘change’ itself – is the IFEA. While we are certainly affected by all of the above and much more, just like

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each of you, the IFEA is here to help clear the pathways for our industry to best navigate and manage their way through the forest of challenges. From our IFEA Annual Convention, Expo & Retreat to our Event Management School; our Webinar Series to the Event Insider global industry news resource; our professional (CFEE) certification program to the most sharing, global and experienced professional network in ours or any other industry. The IFEA is here for you. To identify changing needs, initiate and moderate critical discussions, develop the resources to stay ahead of the game, and raise the bar for everyone. I invite you to be an active part of the organization as we work to build, protect and further the brand and image of our industry that each of you has worked so hard to create. I encourage you to include your professional peers, staffs, boards, sponsors, cities and other stakeholders in becoming a part of and participating firsthand in all that we have going on. It is that inclusiveness, those common bonds, that natural expansion of our conversations that will strengthen the role that we play and the impact that our industry can have on the changing world around us.

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THE BOARD

So Much More Than a Party Let me start this article by thanking the IFEA Board Members for their trust and support in allowing me to act as the Chair of our beloved organization for 2016. I will do my very best over the coming year to assist in growing our international membership and in demonstrating the economic and social importance of our industry. I have had the pleasure, since May 2014, to act as the Executive Director of Ottawa 2017, a not-for-profit organization established for the planning and implementation of an ambitious program to celebrate Canada’s 150th anniversary of confederation in our nation’s Capital. Mayor Jim Watson had the vision, 5 years ago, to recognize this historical opportunity to grow the economy of Ottawa and to reposition our city on the national scene. Whenever I’m invited to present our plans, I will encounter people saying how lucky I am to be in charge of Ottawa’s biggest party ever! Such reactions are so typical of the erroneous perception too often associated to our industry. We are eternal teenagers having fun, frivolous jobs to organize big, humongous parties. Such perception explains the challenges we often face in securing funding and logistical support from authorities. In order to address such perceptions, we made a point to assess the economic impact of our program and in demonstrating, with the use of recognized financial impact evaluation tools, that our initiative will generate

over $320M CAD in direct consumer spending and over 3000 new jobs in our region. After demonstrating our financial relevance we defined quantitative objectives to be monitored by third party agencies about the tourism impact of our program, its impact on the level of pride of our residents and its contribution to re-brand our City. Adopting a robust business approach to demonstrate our relevance was a first step in moving beyond the “party animals” perception. We then consulted with City social workers and public health experts in order to set valid social goals. The power of festivals and events to act as social harmonization vectors is too often overlooked. Creating meeting places to get residents to know each other; creating programs to expose citizens to the cultural richness of your region and allowing ethnic groups to share their culture and lifestyle; and engaging "marginalized" segments of the population to show their skills and talent, can be very efficient ways of reducing social tension and favoring social cohesion. As a result of our consultation, we were able to increase our public offerings by developing programs involving youth at risk and the homeless. We were able to engage a variety of new immigrant associations to allow them to showcase their cultures through activities such as Muslim slam poetry competitions, an ethnic food discovery program, and exposure of new citizens to local rural traditions. Additionally extensive consultation was conducted

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with aboriginal people, allowing them to further the dialogue with the rest of the population and to share their pride in their traditional culture. Beyond financial and social factors, events can also be contributors to your city’s happiness index. Increasing the level of joy, quality of life and personal satisfaction of your population can have huge benefits in reducing health costs, social issues and increasing the productivity of your work force. The festive nature of events can heal the soul of your people and create an environment favorable to innovation and creativity, factors that are so critical to any knowledge-based economy. Bottom line, events are way more than parties. They are ways to improve an economy, to serve as a catalyst to "redynamize" the development of a district, to improve the productivity of a workforce and to increase social cohesion. We are much more than party planners; we are the alchemists of modern social economy. I look forward to serving you over the coming year and contributing to the growth of our IFEA.

GUY LAFLAMME 2016 IFEA World Board Chair Executive Director, Ottawa 2017 Professor, Telfer School of Management, University of Ottawa

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 Kaye Campbell, CFEE, Director of Partnerships & Programs, Sylvia Allen, CFEE Associate Director of Sales Art Director Craig Sarton, Creative Director Contributing Writers Gail Lowney Alofsin, Michael Bleau, Mark Breen, Bruce L. Erley, APR, CFEE, Scott Fraser, Scott Henry, Sean King, James Maglothin , Florence May , Jessica Merritt, Tammy Parent, Robert Wilson, Kendra Wright Photography Rob Kalaidjian, 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 • Boise, ID 83706, U.S.A. +1.208.433.0950 Fax +1.208.433.9812 http://www.ifea.com

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FOUNDATION I’M NOT TOO OLD FOR THIS (No matter what the people in my office say!) OK. I’m 37 years old. So the fact that I’ve been asked to moderate the Under 40 Young Professionals affinity group for the last three years at the annual IFEA Convention is well within the margin of error! I’ll frankly maintain that sentiment for at least the next three years, then proudly proclaim that I’m still that young at heart for at least the next sixty! I make the statement above because of all the experiences and opportunities I enjoy at the IFEA Convention each year, the Under 40 session ranks right at the top. Here’s why: Where else are you going to have the chance to pick the brains and learn about the future of our industry straight from the mouths of fifty young professionals (who are actually engaged in the conversation and not looking at their iPhones)? Here’s a breakdown of the crowd: • College students from Chico State and other colleges who are IFEA Legacy Scholarship recipients • Recent college grads looking for a job or a productive internship • Entry level employees who are networking and trying to learn their way in this industry • The over 30 crowd of IFEA professionals with over 5 years’ experience. These folks are trying to figure out their “next step.” As the moderator of the session, I make it a special point to emphasize that I’m merely there to ask the next question and keep the conversation flowing. I start the discussion, however, with providing a few stories of my experience in the industry and how to avoid some of the pitfalls I faced early in my career. We also tackle some pretty sensitive topics. How can the younger generation help bridge the gap between maintaining the tradition of events,

while at the same time sprinkling those events with modern and innovative touches? How can young professionals respectively and effectively communicate with their bosses and their event’s stalwart volunteers? As events have become more financially viable to sponsors, their leadership has evolved from volunteers to professional staffs. What can young professionals do to better prepare themselves for the business expectations of our industry? We also discuss some practical tips for “climbing the ladder,” like being patient and keeping your focus on directly what’s in front of you and not on the horizon. The work of the IFEA Foundation is focused squarely on helping to build an exceedingly qualified talent pool of individuals who will soon become the leaders of our industry. As noted above, the festivals and events we work for are businesses with high expectations set by boards of directors whose members understand what makes a well-run business tick. Our crop of industry leaders rising through the ranks are better educated, better trained, and better equipped than at any other time for the myriad of crazy and unexpected challenges that must be faced. These challenges include navigating the complex political landscape of governmental leaders and city/state agencies. Learning the necessary tools for a non-profit organization to comply with the myriad of requirements in Sarbanes/ Oxley. Understanding the human dynamics of the people serving on their board of directors. Creating a long-term strategic plan to provide a road map for future success. And finally, having the necessary contacts to be able to pick up the phone and find the answer to any situation they face. All of these challenges and more

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are discussed, debated, and dissected at the IFEA Annual Convention each year. What a great learning opportunity! Through the IFEA Legacy Scholarships, young professionals are afforded the opportunity to learn at the ground level from the people currently navigating these tricky waters. They spend 4 days in sessions and in conversation with the very best in the event industry. The knowledge gained is simply invaluable. These future leaders will one day walk into a board room and provide detailed financial reports or lead a discussion on a sensitive sponsorship issue. All while using the knowledge they have gained through the IFEA. Now, rather than ending this letter by providing you an address where a check can be sent while making a plea for cash, I’ll just say this: Throughout the course of this year I’ll be writing a letter in each issue of “ie” magazine, explaining some of the bits and pieces of what the IFEA Foundation does. This issue I’ve discussed the Legacy Scholarships and how they are fueling the continued growth of our industry. All I ask is that when it comes time to write your name down on a silent auction item, or raise your hand to bid on one of our exclusive packages at next year’s auction, you remember just a little piece of what I’ve written here!

JEFF ENGLISH, CFEE 2016 IFEA Foundation Board Chair Vice President of Administration/General Council Kentucky Derby Festival Louisville, KY

ASSOCIATION ENDORSED PARTNER

The IFEA would like to thank the following partners for their dedicated support of the association. Association Endorsed Partners have made a commitment to the continued success of our association, our members, and our industry through their umbrella support of all IFEA programs and services. Show your support for these dedicated providers to our industry by getting to know them, and the high quality products and services that they supply, better.

THE DIGITAL LIFE

By Kendra Wright

Resolve to Travel Happy New Year! It’s the time of year to make resolutions, so I’ll go ahead and throw one out. Resolve to have more fun in 2016. And while we’re dreaming the dream, how about resolving to travel more? For many of us, even when we do travel, it’s for business. For me, it’s really hard to detach from the daily grind unless I physically travel away from home and the office. Even as a digital marketer (and perhaps because of this!), I think it’s incredibly important to get away sometimes. Last summer, I took a sabbatical, and while I didn’t go on a huge trip, I did travel and made priceless memories with my family. The most important factor wasn’t where we went – it was how it felt to truly live my priorities and spend precious time with my son who is getting less little all the time! I’ll never regret this time away. After this eye-opening summer, I thought I’d share some digital tools I used to enhance my travel experience and continue to use as often as I can. First, you’ve got to get there. If you’re driving and use the included map app on your phone, I encourage you to change things up and try Waze. I also love Google Maps (which owns Waze), but Waze has a social component. Other drivers tell you about real-time traffic, where police are, road hazards and more. You can choose from various voices to give you alerts, and in an unbelievably clever product placement, you can now choose C3PO to give you directions. A friend or family member can even tell you when they’re on their way home, and it will alert you when they will arrive. Give it a try! If you are flying, a great way to check flights is Hipmunk. When you search flights, the display of results is nice, and you can also select to receive an email when the price for your searched flight goes down. But the best part is the sorting – in addition to sorting and filtering by the standard

options, you can sort by “Agony,” which is a mix of duration and price. Like other booking engines, Southwest Airlines isn’t included in the listings on Hipmunk; for that, the Southwest app is needed. But luckily that app is useful as well. Now for my top recommendation for hotels, restaurants and more when I travel, the clear winner is TripAdvisor. Don’t you just love a good recommendation? TripAdvisor is another social app that gives you the chance to see reviews from other travelers all over the world. TripAdvisor offers lots of ways you can filter by what is important to

you, like a hotel pool, seafood at a restaurant, etc. You can even filter to see reviews and ratings only by certain traveler types, like families, couples, friends and more. In my mind, you can’t beat TripAdvisor for overall great recommendations for travel. Especially for hotels, I never book without it. For local jaunts and especially for restaurants, I love Yelp. I’m sure many of us use Yelp, so I thought I’d share a few different features you may not have tried. First, I almost always Filter (top left corner) and sort by Rating. Sometimes if I’m looking for what’s popular, I sort by Most Reviewed. But the default Best Match is almost Continued on page 88

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Good

Great

CFEE

An Important Step in the Career Track of Industry Leaders Join us September 24-26, 2016, in Tucson, Arizona, U.S.A. and be three steps closer to the recognition you deserve. 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 2016 CFEE FastTrack® Program, contact Cindy Lerick at clerick@culturalfestivals.com or call +1-314-614-7152. The CFEE Professional Certification Program is Sponsored by

THE SPONSOR DOC

With Bruce L. Erley, APR, CFEE

What’s With Those Millennials?

Dear Sponsor Doc: I feel like the millennial generation is wreaking havoc on my events! Many of my sponsors want to know what we are doing to attract them. I’m not sure what I need to produce that will appeal to them or even how to market to them. They seem so difficult to “manage” as a demographic group. Any ideas for me? C.O. St. Petersburg, FL. Dear C.O.

Yes, this is a daunting question indeed for event producers. I would think that as my wife and I raised three full-functioning Millennials (now aged 30, 29 and 27), this would be intuitive for me, but it is not. Let’s first define what a member of the millennial generation looks like. Millennials (also known as Generation Y) birth years range from the early 1980s to the early 2000s. They are not a monolithic group. Young Millennials are presently aged 18-24. Mature Millennials are now 25-34 years old. We need to really pay attention to them as well. Pew Research reports that this year, the Millennial generation is projected to surpass the outsized Baby Boom generation as the nation’s largest living generation. Millennials are projected to number 75.3 million, surpassing the projected 74.9 million Boomers (ages 51 to 69). In terms of marketing to them, companies are fiercely competing for millennial mindshare, reports Forbes. There are eighty million millennials in America alone and they represent about a fourth of the entire population, with $200 billion in annual buying power. Companies have been struggling to connect with this generation because many of the traditional methods of advertising have proven ineffective at capturing their attention. From Cone Communications’ most recent report on Millennials, here are some additional key traits of this generation that our events can effectively address: • Millennials are more likely to spend their money on experiences rather than things. • Millennials seek activities that they can enjoy with their friends. • Millennials use social media to amplify impact. They regard it as their megaphone to share 18

their experiences and promote the things they care about. • Millennials are fervent in their support of corporate social and environmental efforts. They want companies to tell them how they are striving to improve the world around them. • Traditional communications channels just won’t cut it with this wired audience. They are far more likely to utilize social media than the average consumer. The shift from traditional media to social media will be game-changing as companies try to break through to this always-on audience. • Millennials want to be entertained and engaged! The group prioritizes videos, infographics and games as communications platforms. That is where festivals and special events have a great opportunity. What can we do as producers to attract, interact and engage Millennials at our festivals and events? It is more important than ever before to bring our events to life through compelling content, visual storytelling and interactive experiences. • Be sure to paint a compelling picture of the social benefits of your event or organization and what it is worthy of support. • Having a concert? Turn it from a spectator event to a participant event through creative activations like having the crowd text their choice for the next song. • Promoting an endurance event? Encourage participants to register with a group of friends and use it as a fundraiser for a cause they care about. • Instead of having the standard beer garden, bring in a small batch distiller and create a “bourbon and bacon” pairing.

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• Rather than provide another banner or booth, offer your sponsors the opportunity to provide a “content rich” submission for your Facebook page that will enhance your guests’ experience. So there you have it C.O. The Millennials are here to stay and will have a profound impact on festivals and special events in the future. Embrace them! Learn as much as you can about them. Hire them to help influence your programming and marketing. And remember they love experiences and you have the ideal platform to deliver them. 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

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

SPONSOR SUMMIT

Sponsorship is the fuel for the festival and events industry engine. Strengthen the partnerships you have built with your festival’s sponsors by hosting an IFEA Sponsor Summit. When sponsors have to make difficult resource allocation decisions, they will remember the sponsor properties that gave them the tools and ideas they need to gain even greater value from their sponsorship investment.

SPONSOR AUDIT

Are you getting the most out of your sponsorship program? Is your sponsorship program performing at its peak or could it be strengthened? Have you identified and valued all of your sponsorable benefits and assets; or is their valuable ‘real estate’ going untapped? Have you been so busy recruiting, servicing and retaining the sponsors you have that you haven’t had time to step back and evaluate your overall sponsorship program to see if there is room for improvement? If all of these questions have left you with even more questions, it may be time for an IFEA Sponsorship Audit! To set up a Sponsor Summit or Sponsor Audit or for more information about these valuable IFEA programs, please contact:

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

THEY SAID WHAT???

By Scott Fraser

Creating a Crisis Communication Plan Part 2 You may recall in the November issue of “ie” Magazine, this column dealt with some of the steps you need to take to create a crisis communications plan. If you already have a crisis communications plan, congratulations! I hope these tips were a helpful review. If you did not yet have a plan, I hope that column was helpful in beginning the process. If you have not yet created a crisis communications plan, what are you waiting for????

This month’s column builds on the last. It contains information that was presented at last September’s 60th Anniversary IFEA Convention and Expo in Tucson, AZ. This will help you put your crisis communications plan into play when your crisis hits. As a reminder, what differentiates a crisis from an unpleasant occurrence? In a crisis, you have the elements of surprise, some kind of threat and a short response time. When a crisis hits, remember, time really is of the essence. With an almost instantaneous news cycle, if you are not able to provide information, chances are someone else will, and it may not be accurate and it may not be favorable. The goal of any crisis is to deal with it (and make no mistake, you MUST deal with it) and transition, rather quickly we hope, from crisis into opportunity. But in an effort to deal with a crisis quickly, do not sacrifice the need for accuracy. There are many examples of a news outlet rushing to be the first to get a story on the air without fully checking all the facts. This can lead to 20

some embarrassing reporting, and the need for later apologies. Do not fall into this trap. The need for accuracy always outweighs the need for speed. First and foremost, get as much information as possible. Decide what you will say and how you will say it. Craft three key messages. This will help you organize your thoughts and decide what the most important information is to share with your audiences. Always give your messages in order of importance. In a time of crisis, it is important that your information is clearly reported and you want to help the media with this reporting as much as you can. As you prepare your talking points, you want to ask some important questions. What are the holes in our messages? Who will be critical of us? Who will support us? What will they say? Your answers to these questions will help you prepare your communications to your various audiences. Prepare your spokesperson. The spokesperson should be media trained and have experience dealing with reporters. If he/she is the one

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who regularly communicates with the media, your messages will be more readily accepted. Make sure your spokesperson has as much information as possible, including a timeline of events. As a side note, it is best if you have some information prepared in advance. For instance, your organization history, bios on key leaders, who you serve and what you do, should already be on your website. As your spokesperson begins to distribute the information, you probably want to prepare your administrative and security staff as well. There is a good chance they will be getting the next round of inquiries and quite possibly on-site visits from members of the media or interested publics. Make sure they have instructions for dealing with the situation including what to say or what not to say. As the crisis unfolds, you need to stay flexible. Despite all of your best efforts in crafting your plan, depending on the situation and the reactions of the public and/or media, you may need to revise your plan, and do so quickly, to keep up with the events as they unfold. Along with being prompt in your messaging, be direct. Now is not the time for flowery speeches about your event or organization. As that old time detective used to say on television, your audiences want “just the facts”. And, this should go without saying, but always tell the truth. With all of the online and social media resources available today, even the smallest lie will be found out. Then all credibility will be lost. During a crisis it is imperative that your credibility be maintained at Continued on page 88

THE UN-COMFORT ZONE

With Robert Wilson

Here’s When Creative Thinking Kicks In In the early 1980s, when I was a young man fresh out of college, I wanted to work in the advertising industry as a writer. I took the traditional approach and sent resumes with my three best writing samples to 80 advertising agencies. The response I got: ZERO. I made several follow up phone calls only to learn that my resume had not even been looked at. One creative director told me that he had a stack of resumes from writers that was four feet high and that he had not looked at one of them. I was frustrated... but that frustration stimulated a humorous way for getting those creative directors’ attention. Around that time I had begun to notice a number of homeless people having particularly good success at begging by holding up a piece of cardboard ripped from a box with these words written on it: “Will Work for Food.” They had discovered an effective way to advertise and motivate people to give them money. Recalling the old saying, “imitation is the sincerest form of flattery;” I created my own such sign which read: “Will Write Ad Copy for Food.” Then I had a friend photograph me holding it. I made 80 copies; stamped my contact information on the back; and mailed it to those same ad agencies. It was amazing, I heard back from more than half of them! Innovation and creativity are all about solving problems or satisfying needs. And, there are three times when we are most likely to think creatively. The first one is when we are forced into it. Suddenly you find your back against a wall with nothing at your disposal but spit and a prayer (you’d give anything for some duct tape). There is a proverb you’ve heard dozens of times that succinctly describes this situation: “Necessity is the mother of invention.” The concept of necessity motivating us to improvise brings to mind a story 22

that my third grade teacher, Ms. McCoy, shared with my class. The imagery was so gross, I never forgot it. She was living in California and had gone to her hair-stylist for a permanent wave. While she was waiting for the solution to set, the room began shaking, glass was breaking, and people were screaming. It was an earthquake. When it stopped, everyone in the building ran outside. Knowing that the perm solution must be rinsed out soon or her hair would fall out, my teacher asked the stylist to wash her hair. He, however, fearing an aftershock, refused. Ms. McCoy, more concerned about baldness than getting squashed, went back into the building. She went to the hair washing sink and turned on the faucet. Nothing. She checked the other sinks. Again no water; the main was broken. Finally she went into the bathroom and found just enough water to wash her hair. She said it only took an instant to decide between losing her hair or not, before she plunged her head into the toilet. The second occasion in which we are likely to be creative is when something annoys us. Irritation motivates us to fix the problem. Remember it is the “squeaky wheel that gets the oil.” I wrote about this at length in a previous column, titled “STOP Bugging Me!” In it, I suggested that applying some creative thinking to some of the tasks you hate to do each day could lead you to a million dollar idea. The third occasion in which we are likely to be creative is simply when we want to be. It is human nature to improve things. Whether it is an artistic pursuit or something more

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practical, developing something new brings us joy and fulfillment. Sure, it’s exciting to solve a problem, but there is more to it than that. Feeding your creative spirit is exciting and invigorating. Creative energy is highly motivating, and makes life seem worthwhile. There is nothing more satisfying than seeing the results of your own personal genius. It’s about the journey, or as the American painter, Robert Henri, put it, “The object isn’t to make art, it’s to be in that wonderful state which makes art inevitable.” Sometimes it is simply inspiring to observe all the innovation around you. Just look around you at all the man-made objects, whether it’s the building you are in, the ballpoint pen on your desk, or the chair you are sitting in - each one began with a thought... an idea. And, it’s not just about things you make, it’s about new theories, new ways of doing things, new efficiencies, the list is endless... and always will be as long as minds are free to create. Have you been neglecting your ideas and creative energy? Take some time today to get back to it. You’ll be glad you did. Robert Evans Wilson, Jr. is an author, humorist and innovation consultant. He works with companies that want to be more competitive and with people who want to think like innovators. Robert is also the author of the humorous children’s book: The Annoying Ghost Kid. For more information on Robert, please visit www.jumpstartyourmeeting.com

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With Gail Lowney Alofsin

“GET TO” VS. “HAVE TO” The New Year offers the opportunity to recharge and renew your mindset towards living your life. You have the chance to approach your life, personally and professionally, with a “beginners mind.”

There is always new information to learn about your career path, new passions to pursue, new books to read and conferences to attend. Lifelong learning will serve to further your career while creating an active and fulfilling life for you. One of my clients, who recently turned fifty, professed she “gets to” turn fifty. With full appreciation for life, she produced a birthday party for herself complete with a band, great food and her favorite people. Let’s be honest, we use the vernacular “have to.” For example, “I have to go to work, I have to attend the board meeting, I have to go to the gym, I have to have lunch with my client, I have to go to the conference, I have to attend my niece’s play.” When you change the two words to “get to,” for instance; “I get to go to work, I get to attend the board meeting, I get to go to the gym, I get to have lunch with my client, I get to attend the conference, I get to attend my niece’s play,” your mindset becomes one of privilege versus obligation. Are 24

you healthy enough to go to the gym? Be thankful! Do you have a job, clients, and conferences to attend? Are you on a board or committee assisting others? Be thankful! Gratitude is powerful and the more you say thank you and live in a state of appreciation, the happier you will be. “Get to” are two powerful words that will serve to reframe your mindset. As this New Year commences, you “get to” spend time with family, eat healthy, join a new committee, go to work and oh yes – exercise! Sonja Lyubomirsky, a professor and author of The How of Happiness, has studied human happiness for over two decades, concluding that approximately 50% of our happiness is determined by genetics, 40% by our habits, thoughts, and intentional activities (the things we control), and 10% our circumstances (career, home, life situations). While this may be counterintuitive as we feel that money, things, a great job, and a beautiful home will make us happy, happiness initially comes from within.

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How to get happier? Focus on that 40%. What are you filling your time with? What are you filling your head with? With 40% of happiness under your control, you can be intentional. What are the “simple” things that make you happy? Smell of the ocean? Mountains? Exercise? Baking? Reading a book? The happiest people reach out to others in an attempt to make their day better. Put your cellphone away when ordering your morning coffee, purchasing groceries, having lunch with a friend. Be present. Notice. In your community, who can you help? You do not have to join a board to help people or travel to Haiti, you can assist people in your own back yard. For 2016, make this a weekly practice. Volunteer at a local shelter. Contribute to food drives. Join a non-profit committee. Assist a non-profit with their social media or website development. What are your gifts? You will be happier when you “get to” share them. So as we embrace the New Year, why not practice gratitude every day? It will become a most positive habit. As one of my lifelong mentors, Sister Ernestine Krupa has always shared, “Every day that I get up and know my name, I realize it will be a great day!” Being appreciative of the small things is crucial. Let’s go forward as we “get to” live this life to the fullest. Happy New Year! Gail Lowney Alofsin is an author, speaker, adjunct professor and business executive. Her new book, Your Someday is NOW – What are you Waiting For? has raised over $25,000 for non-profit organizations since it was launched in April 2014. A lifelong student and humanitarian, Gail believes that we all have the capability to be a leader in our own lives, influencing the lives of others to positive peak performance and success. She can be reached at 401-640-4418, gail@gailspeaks.com, twitter: @gailalofsin and gailspeaks.com.

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Turnstiles: Marketing for Event Managers By Sean King

The ABC’s of

EVENT MARKETING 2016 Edition Part 1 of 2

Whether you're a grizzled veteran of the event marketing wars or gearing up for your very first event, there’s a baseline of knowledge we all need as the basic building blocks from which we can grow, innovate and provide amazing guest experiences to an ever-expanding audience. In this first article of a two-part series, along with a companion webinar to be featured on the IFEA Webinar Series on April 28, we take a look at the ABC’s of Marketing updated for the 2016 event season. What are the new trends? How can we take a fresh look at the old basics 26

we need to implement as part of our marketing and promotional strategies? We break the alphabet into 13-letter topics to provide a brief, top line perspective of what you need to know to achieve success in 2016. Plus, we’ve included a tip or two for each of the topics that you can use in your planning and implementation this year. Advertising An article on the ABC’s of Marketing can begin with one topic: Advertising. Many folks interchange marketing with advertising and vice versa, but this should not be the case. Advertising

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belongs to the marketing family, but the opposite is not always true. Marketing is comprised of many other items such as Pricing, Product and Promotion, while those of us in the arts and festivals space add another “p” word: Programming. Advertising has its own three “M’s” to remember: Message, Media and Market. Message is what we say. Top of the list for 2016 is to tell your story through creative content. Whether guest-generated or content created by your own team, creativity remains key to successful engagement in social and traditional formats.

Your brand is not what you say it is, it is what others think, say and feel about your organization and event. Brand is not your logo, although a logo represents what your guest expects and visually communicates that guarantee. The second “M” is Media. That’s where we share our stories. As everyone knows, the media landscape is as wide as ever with social (Facebook, Twitter, Instagram, YouTube, etc.) and traditional (radio, print, outdoor, direct mail, tv) outlets and more options than ever for potential guests to learn about events and to become engaged. Mixing a blend of your advertising between traditional and social is the key to success, with a splash of digital promotion through paid search and outlets like Google AdWords. Of course, your overall success is dependent on the third “M” and that is the Market – the “who” we are trying to reach. Your team needs to define the main market you are attempting to reach based on your programming. Your advertising plan will hinge on whether you focus on Millennials, Gen Exers or Boomers. The good news is, once you determine who your audience is, the answers of what to say and where to say it will become much clearer. Brand Your brand is not what you say it is, it is what others think, say and feel about your organization and event. Brand is not your logo, although a logo represents what your guest expects and visually communicates that guarantee. Brand is built over time with consistency and attention to detail. Everyone has a brand whether they know it or not, the key is to leverage and grow it. Be sure to never lose site of your key brand attributes, they are what make your festival unique and important to your community. Tip: Your brand is particularly important to your sponsors. Beyond the return of investment that is now expected of many partnerships, the most successful sponsorship activations are where the two brands share the same characteristics and attributes. When evaluating your partnerships for 2016, brainstorm ideas on how can you deepen those brand relationships. Collaboration An ancient proverb says “If you want to go fast, go by yourself. If you want

to go far, go with others.” This theme is at the root of any collaboration and is a driving factor for successful relationships between multiple parties. Collaborations can be found between funders, events, and public/ private partnerships, but you should be warned that these come at an expense of time and energy, especially the larger the scope of the project. Collaboration should be more than just a buzzword. The opportunity to collaborate with others to help you achieve your goals and those of others can propel us to even higher heights than we imagine. A collaboration tip for 2016 would be to review your community for geographic or demographic similarities between yours and another event, festival or organization. Open a dialogue to see how you might be able to partner either to grow audience, control costs or other impact both parties in a mutually beneficial way. Data Analytics - Who hasn’t heard about big data? It’s the business activity that takes the data of what you’ve bought, where you’ve visited and what you like and distills it into serving your Facebook feed, websites you view and much more. But what about big data for small organizations? There are steps we can all take to know more about our visitors, our fans and create profiles that will help us better engage our audiences, in turn drive attendance and increase revenue. Sounds great, right? But where do we start? For 2016, start collecting basic data on your festival-goers offline. Start a survey program executed by volunteers to gain much needed insights as to who your attendees are, where they come from and how to stay in touch. If you need help in defining what data to collect, start with the absolute basics: name, zip code, date of birth and contact info, preferably email address. If you’re a little more sophisticated in your data plan, use the analytics provided by Google apps, Facebook, YouTube and others to create a baseline dashboard to track your success and Spring 2016

allow you to start making strategic decisions based on that data. Emoji The word of the year according to Merriam –Webster was an emoji, not a word. There are interesting trends in the marketing and communications industry that the most popular platform for millennials is Instagram, primarily a visual medium, while the fastest growing platform is Snapchat with its 10-second lifespan. Tip: Think about what steps you are taking to shorten your communications to make the biggest impact with the fewest amount of words. Using media such as photos and graphics to tell your story is a trend to follow for 2016. Facebook Need more be said? The Goliath of all social media forums is now a staple of the marketing and communications plans for just about everyone. As we all know, the world of Facebook changed for all organizations two years ago when the gatekeepers at Facebook installed a tollbooth. Gone were the days of posting and having your post instantaneously appear on your fans and friends pages. It was a wonderful world, people electing to ‘like’ and an uninterrupted way for you to communicate with those who liked you. In retrospect, paid advertising to reach 1 billion people was inevitable given the pressure to monetize the company and create a never-ending stream of revenue. However, one might agree that it was just taking Facebook back to its roots by putting the control in the hands of the user and raise the bar for spammers to hurdle. It’s been up to us to navigate the ever-changing labyrinth of rules and features the Facebook geniuses devise each day. One can argue it is unfair to the smaller organizations among us who no longer can use Facebook freely, but if you are wise and can plan accordingly, you can organically grow your following until the time that paid reach becomes a reality. Google Whatever your stance is on Google and their work in front of and behind closed doors, they have a lock on data (with Amazon a close second). Entities selling commodities like cars have plowed in billions how to maximize this space and marketers are falling all over themselves to reach the top of Google AdWords paid search. The little guys can take advantage of these same lessons in promoting their events and festivals. Although

IFEA’s ie: the business of international events

Keywords in their most basic form allow you to promote the most important items about your event so there is a greater chance of your message to be seen by the person you want to see it. fans aren’t necessarily using Google in the same way to shop for a live event as they do a washing machine or automobile, but the basics are the same. Tip: If there’s an area you should look at exploring with a minimal budget investment for 2016, leverage Google ads to give you visibility among those who find your event and are searching for your main attraction (children’s, music, fine arts and crafts, wine, craft beer, food). #Hashtags Right along with emojis and Snapchat, the proliferation of hashtags within the world of social media has been noticeable within the past year. Basically, hashtags are a way to categorize similar conversations around a topic i.e. #GivingTuesday, #StarWars), but it’s also a way to inject commentary (i.e. #epicfail). Tip: Use hashtags as a way for followers to monitor conversations and participate in the conversation about you and your event. Stay away from the snarky, but embrace a simple, meaningful hashtag and those on social media will find you much easier. Instagram As we mentioned previously, Instagram is by far the most popular social media platform for those ages 18-34. Who needs words when a photo will do? We’ve heard forever that a picture is worth a million words, so in this age of mobile media, photos and video are the mediums where Instagram gains its users. Tip: Do you have an Instagram account? When was the last time you posted to it? Have you looked at the analytics to see what followers you have? Do a little research and then put a volunteer (preferably a young intern) to work on curating content for the page. Jay-Z Could be Jay-Z or Taylor Swift or any celebrity who has been able to successfully build a brand through the use of social media and following the same rules as big corporations. Managing the overall look and tone of your content is imperative and 28

look no further than what some of the top popular culture star brands do to interact with their fans. Tip: Think of your festival as a personality. What traits does it have? Then use those elements to help you create a conversational tone in your posts and a style in the images you choose. Keywords Paid search was a hot topic and all the rage just a few years ago, but has now become a standard for the marketing world to maximize website visits and usage. Keywords in their most basic form allow you to promote the most important items about your event so there is a greater chance of your message to be seen by the person you want to see it. Keywords have now morphed into tags, which folks identify with photos when shared with friends and family. Actually, the best way to think of keywords is that they’re essentially tags for your website. Just as you would tag a friend with their name, with a keyword you would select “jazz” or “dance” or “craft beer” when selecting your paid search, Facebook or other means of communication. Tip: Take the time to identify the handful of words that best describe your event and then use them when engaging paid search and Google AdWords so people can find your event much easier. Logos Logos are not your brand. They are a visual representation of what your brand delivers. A great deal of time and resources can be spent on designing a logo, and while you need to live with the design for a long time, you should also not be paralyzed by design development. Committees take far too much time to decide on elements and colors. A great logo will communicate with you from the very instant you see it and should speak to others as well. Tip: Take a look at your current logo and brand’s visual identity. Does it convey the message you are trying to share? Or is it a remnant from decades ago that could stand to be refreshed? This is an important step in a marketing

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and communications audit and by analyzing your logo at this point, you’ve taken care of a main component. Millennials As mentioned earlier, Millennials continue to be a main driver and focus in marketing circles based on their sheer numbers and potential impact on brands for decades to come. The number one trend for Millennials is based on the fact they are digital natives and have never known a day without technology. Mobile phones are as important as water and food, and new products and platforms are being developed daily for them to take advantage of the digital universe. With Instagram as their social media of choice, Snapchat gaining in popularity and the rise of the emoji, Millennials are changing communication from the ground up. Interesting to think what might come of communication in the future where words are an afterthought and if the trend to Instagram photos and memes, wordless emojis and disappearing conversations are the norm. Tip: If you haven’t already addressed a strategy to reach Millennials, it would be a good time to analyze your communications strategy, (the three M’s), in order to fine tune your message for this growing market segment. With the average age of a parent of a 5-year old now at 30 years of age, the Millennials not only represent themselves, but also a new generation of families that will be attending events for decades to come. CONCLUSION The world of event marketing is wild and ever-changing, with new apps and platforms being added daily. We hope this article can be used as a primer or as a review for your 2016 marketing plan. Before you know it, we’ll be basking in the warmth of spring and summer as the fruits of our marketing planning will be on display for all to see. Be sure to read the second installment featuring letters N-Z in the next issue of i.e. Magazine and tune into the April 28 IFEA Webinar when we bring the whole alphabet to life.

Sean King is a Principle at Aspire Consulting Group in Allentown, PA and has been consulting with small businesses and non-profit organizations for over 20 years. He also blogs regularly at www.artsmarketingblog. org. You can follow Sean on Twitter @skingaspire or contact him at: sking.aspire@gmail.com

Spring 2016

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

SAFELY DOES IT

By Mark Breen

USING RADIOS AT EVENTS Working in events, you’ll use two-way radios at some point. Irrespective of what type of event or where in the world you’re working, you’ll use radios. They are a fantastic resource and can be anything from simply handy to have through to absolutely vital to the safe running of the event. As event professionals we need to be comfortable with their use and confident that we can use them properly in an emergency. It’s in emergency situations that the radios very much become absolutely vital rather than handy to have. In fact, as an Event Safety professional, my perspective is that radios utilised properly & effectively are one of the key tools in the success of any event. We use them to establish and maintain safe, effective management of events. Using radios is definitely not rocket science but I’ve seen first hand the issues that can arise when people don’t know how to use them properly or, indeed, do know but still don’t use them properly. I’m sure you’ve seen these issues too. We put together an Infographic, which covers some basic but key elements to the use of radios. We find it helpful even just for ourselves as a refresher tool for our own Event Team. The Basics There are some simple things we need to understand about two-way radios and how they work. The first thing is that they do not work like mobile phones / cell phones. You can not listen and speak at the same time. You need to press the button to talk and while you have the button pressed, you won’t be able to hear other people relaying messages. One of the most common mistakes people make

when using radios initially is keeping the button pressed. It’s important to remember to release the button otherwise you’re blocking the channel. The performance and range of radios vary depending on weather and the environment we’re using them in. In urban areas with lots of buildings they can be less effective as a result of the buildings interfering with the signals. That said, in wide-open areas they can be affected more by wind and weather. Using a Radio There are some key tenets we need to remember when using radios. Realistically, we’re all guilty of flouting these at times but sticking to them helps ensure the radio use is as effective as it can be. Some of those include: • Keep your messages short • Do not interrupt other people on the radios unless you have a priority message • Do not shout into the radio • Wait 2 full seconds after you press the button before you talk These are just some of the guidelines to using radios. The Infographic includes many more. Radio Language There is some standard radio language that is used by those who use radios regularly, such as police forces and armies across the world. We’ve learned Continued on page 91

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THE ULTIMATE REPUTATION GUIDE FOR JOB SEEKERS PART 1 OF 2 By Jessica Merritt

A positive reputation is important for everyone, but it's especially important for job seekers. Employers today are researching candidates online before extending job offers, and they want to be impressed. Gone are the days when it was enough just to not have anything negative pop up: these days, you'll need to show that you can take initiative and build a positive reputation online. They want to see positive signs that you're the right candidate, and it's up to you to put them there. Maybe you haven't done anything wrong to earn a bad reputation online – but that doesn't mean employers will be impressed. In fact, they may be bothered that there's a lack of information available about you online. Ultimately, they need to see that you're active, positive, and involved online – and if you can deliver on this, they'll be more likely to extend a job offer. Plus, developing a positive online reputation can help you build a strong network, become a trusted expert, and deepen your industry knowledge and access to resources. 32

The bottom line: a great reputation can back you up when you need it most. Employers Are Researching Candidates Online: What Are They Looking For? We live in an age of information, and it has employers and recruiters wanting more. They want to go past what's on your resume, cover letter, and references. They want to know more about your personality, how well you'll fit with company culture, how much you know about your industry, if you're trustworthy, a team player, and whether or not others respect you as an authority. They want to know all of this, and so much more. Almost every company in America uses online reputation, and social media in particular, as a recruiting tool. With 92% of companies using social media and social networks to find top talent it's clear you just can't ignore the power of online reputation in your job search. You should expect that employers will be researching your reputation and history online. Often, employers

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research candidates around the same time they call references. In a sense, your online reputation is your new employer reference. And while knowing that employers are checking out your life online might feel a little invasive or even creepy, research shows that for many employees, the result of online reputation searches is positive. A recent survey shows that candidates who have been researched online are more likely to be hired, plus their hires typically last for three or more years. Ultimately, most employers are looking for signs that you're a positive influence. No, it's not OK just to not have anything about you online. Employers want to see positive signs, not just an absence of negative ones. Nearly 50% of hiring managers say that social media helps them determine a good fit within the company. They're looking to make sure that you are who you say you are and that others have faith in your abilities. Employers want to see if you're influential in your industry, if you're connected, knowledgeable, and others turn to you as an expert.

Some employers may find it suspicious if you have nothing to show for yourself online. They may wonder if you have something to hide. Additionally, not having anything to show for your online reputation leaves you open to negative attacks. If there's nothing positive about you online, a negative entry is that much more damaging. Why It's Essential to Your Job Search That You Build a Positive Online Reputation Developing a positive online reputation allows you to put yourself in your best light, showing your most flattering professional personality to employers when they search for you – and they will. It's also preventive medicine, stopping a negative reputation before it can start. With a good reputational foundation, you're less likely to be at risk for a negative attack. But with nothing about you online, a single negative entry could do all of the talking for you. Being responsible for your own reputation gives you a voice and the opportunity to influence the online conversation about you. Creating your own content, links, and social profiles gives you control over what people, and employers in particular, are seeing about you. Essentially, building your online reputation allows you to develop your own online resume. You can build resources for employers to discover and learn more about you and the work that you've done. Your online reputation can show off your strengths and expertise, as well as your personality and network. It can tell employers when they've found the right candidate, and ultimately, is likely to help you secure more interviews and job offers in your search. How You Can Develop a Positive Reputation for Your Job Search Clearly, it is important that you develop a positive online reputation that will support you in your job search. But how? We've outlined essential steps you need to take in order to get started building your positive online reputation, even if you're new to getting established online. Get Started Today. There's no time like the present. Not tomorrow, not next week, TODAY. It's important to establish a presence now, especially if you're in the middle of a job search. Employers are looking today, so don't wait to give them something to find. Plus, developing a deeply positive online presence takes time, so the earlier you can get started,

the better. But any steps you can take today to develop your reputation will help move you in the right direction. Using Social Media as a Professional Social media is a fun tool for connecting with family, friends, and even colleagues, but it's more than just a social tool, it's a professional one as well. Social media is an outstanding resource for developing a positive online reputation, allowing you to establish a professional online identity, connect with others, and show employers what you're all about. • Claim your Online Identity: It's essential that you claim important online properties to establish your personal brand online. While you don't have to sign up for every opportunity, don't miss the big ones like LinkedIn, Facebook, and Twitter. Even if you're not ready to become active yet, it's important that you sign up for your profiles, claim vanity URLs, and establish your presence on major websites before someone else has a chance to do it. • Be a Real Person: Employers searching for you online are looking for the real you, so don't hesitate to give it to them. Use your real name so that search results reflect the real you. Share full details, including a photo that features your face. • Back Up What's on Your Resume: Often, employers want to see information that supports what you've shared on your resume. This information makes you more credible and trustworthy. Connect with employers and coworkers on LinkedIn, post photos of your projects at work, and share recommendations to show that you really have been there and done that. • Connect with Others: Add connections with everyone you legitimately know. This can include friends, family, colleagues, classmates, and especially mentors. Developing a strong network shows that you're trusted by many. • Respond to Interactions: Show that you're personable and friendly by responding to others, especially when they interact with you. Comment back if someone says something about a photo, or mentions you on Twitter. Say thanks for endorsements and connections on LinkedIn. • Highlight Your Skills: While you don't want to come off as arrogant or self-centered, social media is a good place to show off. Highlight your accomplishments and what you're good at. Of course, you should also take time to applaud the skills and

accomplishments of others. Use social media as your own online portfolio with accomplishments, linking to projects, events, and other moments in your professional life that you're proud of. • Use a Professional Photo: If you want to project a professional persona (and you should), it's important to use a professional photo. You may love how you look in a photo from your latest beach vacation, but sunglasses and a drink is probably not the message you want to send to employers. Invest in a professional head shot that you can use on social media, your domain, blog, guest posting opportunities, discussion boards, and more. With a great photo to share of yourself that's spread widely online, you can dominate image search results for your name. • Add Keywords to Your Profiles: Ask any recruiter out there: keywords can get you hired. These days, employers don't read everything, not even your resume. Instead, they perform searches, using keywords and other parameters to find the right candidates. Have the right keywords on your resume and profiles, and you'll be found. If not, your profiles may never see the light of day, at least where employers are concerned. Use opportunities to add keywords from your area of expertise in headlines, bios, and more. Consider using words like your desired job title, important skills in your industry, and areas of expertise. Of course, be careful not to go overboard. Keywords should fit naturally into the text on your profiles rather than dominate over your personality and make you sound like a robot. • Ask for Social Proof: One of the most powerful ways social media can help your reputation and job search is with social proof. Essentially, your contacts can back up your good name with reviews, endorsements, recommendations, and positive comments. One specific way you can ask for social proof is to encourage former employers or coworkers to leave recommendations for you on LinkedIn. You should do the same, as it's a great way to build positive rapport, and your glowing comments for others will show on your profile as well. • Join Relevant Groups: Learn from others and show that you're tuned in to the industry by joining and becoming active in relevant groups. A particularly good idea is to seek out groups on LinkedIn, where you can find like-minded professionals in your area of specialty and expertise. These groups can not only support your positive Continued on page 91

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IFEA’s ie: the business of international events

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

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Eliminating Parking

HEADACHES

with Technology By James Maglothin

It’s a thought that can strike horror in the hearts of event organizers. The event is over, you’ve shut the marquee lights down and locked the doors, and you are feeling pretty good about the day. Until you gaze out onto your venue’s parking lots and garages. There you see hundreds of cars at a standstill, angry drivers sitting in line trying to leave. Chances are you are also hearing the blaring of car horns and more than a few unprintable comments. Sound familiar? Spring 2016

IFEA’s ie: the business of international events

One of the hottest trends in parking technology today is parking guidance. Many parking owners are installing single space sensor and parking guidance systems that record whether a space is occupied and indicate to parkers its status through a variety of color-coded lights—green for open, red for occupied, and blue for ADA accessible parking. Parking has always been one of the most challenging aspects of event management, particularly for large events. Moving tens of thousands of cars into parking facilities prior to an event can seem like a Herculean effort, and even when event-goers successfully enter parking lots and structures, their ordeal isn’t necessarily over. It can be difficult for them to find available parking, and they often have to drive up and down aisles—or from one level to another—looking for an open spot. This isn’t just a customer service problem; it’s a potential safety issue too because people who are searching for parking spaces are more likely to get into accidents with other vehicles or pedestrians. And then the process repeats itself once the event is over. We have all experienced the frustration of the mass migration of cars trying to get out of parking facilities after an event, and the extreme congestion that is typical both inside parking areas and along local roadways. When you have thousands-or tens of thousands—of people exiting parking areas simultaneously at the end of an event, delays are all but inevitable. It’s not unusual for patrons to have to wait 30 minutes or more sitting in their idling vehicles and waiting to exit parking facilities after attending an event. These delays are aggravating to people who are stuck in long exit lines, and they can make those patrons less likely to attend the event in the future. It can also make people avoid other events in the same venue. Parking nightmares like these can have a long-term negative impact on events and venues that can last for years. The good news is that when it comes to meeting the challenges posed by event parking, there’s an app for that. Or more precisely, there is a technical tool to meet just about any parking challenge an event organizer may face. Today’s parking industry is being revolutionized by an 36

influx of new and valuable technologies, many of which offer particular benefits for event parking. These tools make parking more user-friendly, more convenient to operate, and more profitable. And they solve many of the most difficult parking challenges facing event organizers. For most event managers, parking is a bottom-line issue because they rely on their parking facilities to generate revenue. Furthermore, they often face stiff competition from both private and public parking facilities that are located close by, so by making parking more convenient for event attendees, event managers can compete more effectively for parking dollars. The question for event managers, then, is which parking technologies offer the most benefit and how can they best be put to work to provide better customer service and more meaningful administrative utilization? Managing Entrances And Exits Parking challenges begin at the front door—or when it comes to parking, at the entrance gate. In an environment in which large numbers of vehicles are typically arriving at the same time, and then later exiting simultaneously, it’s essential to be able to move people in and out of parking facilities quickly and seamlessly. Historically, event parking has been manually managed by deploying a large number of staff at entry or exit points to collect cash parking fees from customers. At more and more parking facilities the process is becoming automated, with access and revenue control equipment managing both the entry and exit experiences for event-goers. Automating the parking access and revenue control provides a better experience for attendees and can also save owners thousands of dollars a year by reducing the risk of theft by employees handling money. Reducing

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the number of staff required within a parking facility can also considerably decrease a facility’s overhead. Access and revenue control equipment includes the gates that manage entrances and exits to assure that people park in proper areas and that they don’t leave without paying. It also includes payment tools that accept credit cards and cash, and they can be configured to permit parkers to pay before getting into their cars to leave (pay-on-foot) and cash and credit card equipment at exits. Another popular strategy for large events is to configure the revenue control equipment to accept pre-payment at entry. Typically, the flow of arriving event-goers is spread out over several hours before a large event, whereas, the exit flow peaks all at once when the event is over. Collecting payments at entry allows owners to take advantage of the dispersed entry queue to process the payment transactions. Following the event, customers present a validated credential at exit or the owner simply raises the gates to allow the most expeditious exit possible. Each access and revenue control suite can be configured to address the unique needs of an event parking facility and reduce queuing of vehicles as they enter and exit parking lots and garages. Unlike in the past, many access and revenue control equipment providers are integrating third-party tools into their equipment to make them even more useful. Whereas in the past the equipment worked autonomously and served the sole function of controlling access and collecting parking fees, today’s equipment can handle numerous additional management functions. Systems can now be set up to read bar codes on event admission tickets and cell phones or charge a credit card associated with a mobile app, for instance, significantly enhancing the usefulness of the revenue and control equipment and making a parking facility more attractive to event-goers. Offering Guidance One of the hottest trends in parking technology today is parking guidance. Many parking owners are installing single space sensor and parking guidance systems that record whether a space is occupied and indicate to parkers its status through a variety of color-coded lights—green for open, red for occupied, and blue for ADA accessible parking. The easily visible sensors can be mounted above spaces or in the ground adjacent to spaces, depending on the type of facility (in indoor structures the sensors are mounted overhead, and in lots or rooftop parking areas sensors are installed on the ground, beneath the vehicle). In combination with signage at the end of parking lanes, sensors

provide clear direction to open spaces. The benefits of parking guidance to event-goers are obvious. Yet, as important as these customer service advantages are, the direct benefits to parking owners and operators are just as significant. The sensors collect essential data about parking utilization trends within a facility and then transmit that data to an on-premise or cloud-based management system that tracks parkers’ behavior. That data can tell event parking managers when parkers tend to arrive prior to events and how long they stay afterwards. They also record which areas within the structure are most attractive to drivers. These business intelligence tools can be used to operate the facility more efficiently and market it more effectively. A properly implemented single space parking guidance system also allows a facility to be efficiently loaded to 100% capacity, as opposed to forcing customers to search aimlessly for the last few parking spaces in a near-full facility. Facilities without single space monitoring systems are generally considered “effectively full” when they reach 90-95% occupancy. This effective increase in capacity of 5-10% benefits both the event-goers’ ability to locate convenient parking as well as maximizing parking revenue for event managers. It should be noted that, typically, manual staff is deployed throughout facilities during large events to direct customers to available spaces and minimize the number of unused spaces. The financial implications of achieving 100% capacity can be significant. Take, for instance, a moderately large parking facility with 2500 spaces, and assume that up to 5% of the spaces remain unused during an event due to a lack of proper parking guidance. At every event that facility may be experiencing as many as 125 empty spaces. When you consider that parking fees for attending an event

in an urban community can cost as much as $50, that’s $6,250 per event that event managers are potentially losing. Even at a more moderate rate of $25 to park (well below market value for most cities), event managers are still losing over $3,000 per event by not filling parking spaces. There are staffing implications, as well. Many parking managers hire staff to direct parkers to open spaces. Sensors eliminate the need for these attendants, which can provide significant savings in staffing costs. Also, by reducing the amount of time drivers spend looking for a space, single space sensors provide several important additional benefits. For instance, they can reduce wear and tear on parking facilities, which can lead to significant savings in maintenance and repair costs. There are also important environmental advantages when the emissions produced by vehicles within the parking structure are reduced. Finally, the sensors eliminate the need to position attendants throughout parking areas to direct attendees to open parking spaces, which can represent a significant payroll savings. Smart Parking Our smart phones have practically become an extension of our bodies at this point. Most of us hardly ever let them out of our sight, and we turn to them throughout the day as a source of information and a communication tool. Just as mobile technologies are transforming our day-to-day lives, they also provide tremendous parking-related benefits for both event-goers and event managers. One of the most intriguing developments in event management in recent years has been the advent of loyalty programs utilizing mobile apps to enhance the event-going experience, including parking. A number of venues are already taking advantage of these mobile

Our smart phones have practically become an extension of our bodies at this point. Most of us hardly ever let them out of our sight, and we turn to them throughout the day as a source of information and a communication tool. Just as mobile technologies are transforming our day-to-day lives, they also provide tremendous parking-related benefits for both event-goers and event managers. Spring 2016

tools, but there are untapped parking benefits that could further enhance loyalty programs. For instance, a venue’s loyalty app could send push notifications to event subscribers and VIP parkers to tell them where parking is available in closest proximity to their seats. Those loyalty program app members can then get into their seats more quickly when they are directed to close spaces that are available, and they can even get out of parking areas more quickly when the event is over. There are many other benefits offered by mobile parking technologies. For instance, mobile apps can be used to pay for event parking, therefore removing the delays that can result from having to walk to pay-on-foot equipment or having to stop at entries or exits to pay with cash or credit cards. Mobile apps can also be configured to read bar codes to permit attendees with season-long parking permits to enter and exit seamlessly. These same bar codes can also be used to manage premium parking strategies by permitting entrance only to those who purchased premium parking packages. In addition to providing an exceptional parking experience to premium parkers, this approach can provide additional parking revenues. Business Intelligence Revolution Parking facilities serving large special events are particularly susceptible to parking challenges. It can be a nightmare to move thousands of cars into parking areas prior to the event and then get them out again when it’s over. Fortunately, the business intelligence revolution that’s taking place right now can offer significant benefits to event-goers and event managers alike. This revolution is focused on big data analytics, operational streamlining, and profit maximization. The new parking technology tools that are constantly being introduced can help parking event managers administer and market their facilities more effectively and they can save venues thousands of dollars in operational costs. And by providing a more customer-friendly parking experience, they can provide an important competitive advantage over nearby parking facilities with which they must compete for market share. Not only can they make parking more customer-friendly, but they can also dramatically improve the bottom line for event parking facilities. James Maglothin, P.E., PMP is Director of Car Park Management Systems at Walker Parking Consultants‬. He can be reached at James. Maglothin@walkerparking.com.

IFEA’s ie: the business of international events

Getting Your Volunteer Screening Right: Using the Tools of the Trade to Build a Better Background Check

Great news! Someone new is interested in volunteering with your organization. They meet your criteria and they seem to be a compatible fit. Before you welcome them to your team, you want to run a background check to confirm that they arenâ&#x20AC;&#x2122;t too good to be true. So where do you start? 38

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There are thousands of data sources throughout the country, including over 3,500 county databases, hundreds of state repositories, and thousands of sheriff’s offices and corrections facilities. There is no centralized U.S. system that you can pull from to get comprehensive, up-to-date criminal record information from all of these sources. Instead, there are a number of screening locator tools that can be used separately or together to build a reliable background check. The more you use, the more thorough your check. As you read through, think of these items as building blocks. As you add more and more checks, your results become stronger and more reliable. Dig Deep On Address History Start where a volunteer lives. Go directly to the courthouse in their current county or state of residence – it’s the only way to be certain that you have located the most up-to-date criminal records. Accurate data from the current county or state of residence is great, but also consider these points: • People move. You don’t want to stop with an individual’s current place of residence. Take it back seven years to every county or state where they have lived. • People even use different names, known as alias or maiden names. Search their address history with their current name and any alias or maiden names they may have used or may currently be using, and then search the primary source data (county and state courthouse data) for every jurisdiction that shows up. Fill in Gaps with Nationwide Criminal Database Locators You have now searched each and every county and state in which your volunteer currently lives or has lived, using both their primary name and any aliases or maiden names they may have used or may currently be using. But there is nothing preventing a criminal from committing a crime one county over or even across the country. It would make sense then, for your background check to encompass all of the jurisdictions where your volunteer lives, works, and plays. Make sure you run a criminal check using one or more nationwide database locators. These databases typically include courthouse data, department of corrections records, most wanted lists, and outstanding warrants. But they are far from perfect – for many reasons: • Nationwide databases are a snapshot in time — the information is not updated

reliable, background check report? If so, you must rely on a combination of screening tools. Run all of these checks for each volunteer applicant.

in real-time and can be months old. • They are also a mixed bag of records — many jurisdictions, and even entire states, don’t report records at all or only submit partial records. • Because there is no standard for data within nationwide databases, they might contain twenty years’ worth of records for some jurisdictions and two years’ worth for others. In sum, it’s not uncommon for records within nationwide databases to be incomplete, inaccurate, or missing key information. Still, they can help you find records outside of the counties of residence. Traditional nationwide databases usually rely mostly on courthouse-based disposition records. There is a growing trend, however, to use arrest record databases right from the police as a locator to find more criminal records and supplement traditional nationwide databases. This is the optimal route if you want to feel confident that records of concern are not falling through the cracks. IMPORTANT NOTE: Use databases as a locator, but not as your ultimate source. You should ensure that your provider is validating the information at the primary source and reporting it based on the Fair Credit Reporting Act (FCRA). This is an important step as the primary source often contains details that the database searches do not. Additionally, if you release a volunteer due to information that is not legally reportable, your organization could face legal consequences. Fill in Even More Gaps with a Specialized Sex Offender Search For an even more comprehensive search, you’ll want to conduct a sex offender registry search on every volunteer applicant. The registry should be checked as a rule, but particularly if your volunteers will be working with the vulnerable sector including children, the elderly, and disabled individuals. Keep in mind that the Dru Sjodin 50 State Department of Justice Sex Offender Registry (NSOPW) is the only real-time, up-to-date comprehensive sex offender search. It’s important to ask for the search by name as there are other national sex offender registries that contain outdated and incomplete records. All Together Now If you are like many volunteer programs, you’ll run an enhanced nationwide database search and call it a day. Do you want to make sure you are getting the most accurate, Spring 2016

Questions to Ask Your Provider It’s important to ensure that you fully understand what you are getting from your background screening provider. There are many instant and national databases that are not comprehensive and will not provide you with the level of due diligence you’re looking for. If you are getting your background check reports back instantly, or paying just a few dollars, you should ask the following questions: • Why do my results come back almost instantly? • What jurisdictions does your nationwide database cover in my region, specifically my county and state? Also, how often are those records refreshed? • What city or state courthouses are you checking at the source on my volunteers? Should you find out that the searches conducted are in fact instant or stale national database searches, speak with your provider or contact another provider regarding more comprehensive options. With background checks, you truly get what you pay for. Find out more about what’s lacking in nationwide database searches, what questions you should be asking, and your options for more complete, high-quality volunteer background screens. Visit us at: www.verifiedvolunteers.com Email: info@verifiedvolunteers.com About Verified Volunteers Verified Volunteers is the only background check platform tailored to the specific needs of the service sector and the first online community to mobilize repeat, vetted volunteers. Our Volunteer Fast-Pass propels nonprofit organizations by empowering volunteers to take greater ownership of costly, time-consuming screening processes. Verified Volunteers is backed by SterlingBackcheck, one of the world’s largest background screening companies, and partnered with Points of Light, the world’s largest organization dedicated to volunteer service. Visit our website at verifiedvolunteers. com or engage with us on Facebook, Twitter, LinkedIn or Google Plus to learn more.

IFEA’s ie: the business of international events

Choosing an EFFICIENT and EFFECTIVE Online Volunteer Management SYSTEM by Florence May and Tammy Parent

“What do you seek in an online volunteer management system?” is the first question in our fact-finding meeting with potential clients. The leadership’s response typically includes elements of the following response: we are seeking a product that enhances our brand, integrity, efficiency, partnerships and relationships with our volunteers. 40

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Our follow-up session is with the manager of volunteers. This person is responsible for one of the organization’s most valuable assets: the relationship with the volunteer team. The discussions with the managers of volunteers tend to be less aspirational and more focused on the following challenges: • “My boss doesn’t understand how much time it takes to recruit, register, schedule, coordinate, train and manage our volunteers." • “We have a system but it wasn’t designed for volunteer management. • It was the least expensive option.” • “We need the volunteer management tools to do the work efficiently and effectively.” Managers of volunteers want to do their jobs efficiently with tools they can operate effectively. They want the organization to look good in the process and also want to look professional. The reality is that it is difficult to ascertain the differences in the numerous options on the market today. The promotions for products sound very similar. The following article will help your organization differentiate and enhance your brand, integrity, efficiency, partnerships and relationships with your volunteers while using your financial and personnel resources appropriately. The Technical Playing Field Five years ago there were a dozen online volunteer management systems in North America. Today every technical service provider claims to have registration and volunteer management options. Your database provider, your e-mail provider, your ticket system provider and many others try to repurpose their existing software to force a volunteer management solution. They can sell the additional services to you cheap or even provide them for free with your existing contract. If your organization manages a very small number of volunteers and has limited reporting needs, this solution might work. Unfortunately, decisions are often based simply on price and not on the loftier needs addressed in the opening paragraph: brand, integrity, efficiency, partnerships and relationships with our volunteers. The old adage “you get what you pay for” often applies as organizations end up with an online system that: • Frustrates the volunteer as the process does not match the organization’s purpose • Infuriates the manager of volunteers with lack of functionality • Does not create efficiency for the organization and • Leaves the organization looking weak and disorganized.

The Shopping List Step One: Identify the features and functions needed to be successful. Make a checklist and identify which items are a priority and which are nice to have. See a sample volunteer management system features and functions list here. Step Two: Discuss the system purpose. Note this actually should be step one but most people are more comfortable starting with features & functions. What type of volunteer management system will support your organization’s purpose? • Ongoing activities. Every day? Set schedule at set location? Same hours? Small number of volunteers daily? (e.g .food bank, hospital) • Event based. Specific periods of time? Multiple locations? Numerous positions in the same time period? Large numbers of volunteers in shifts? (e.g . championships, endurance, festivals) • Community hub or recruiting. Need to match volunteers to geographic interest-based requirements. • Enterprise. Central organization with numerous supporting organizations. (e.g. cause based, Special Olympics). Step Three: Understand what level of account management support is needed. • Account management. Does the company provide an assigned account representative or a pool of account reps? • Account services. What services will you need from the account rep? Consultant? Task? Technical? Only tech support? No support? • Access. How can you access support? Phone? E-mail? Chat? Forum? When is support available (days/hours/holidays)? Step Four: Valuation • Tasks. Break down the tasks that consume the most time (e.g. recruiting, scheduling, communications, group coordination, check-in, reports, management). • Staff time. Do a time study. How much time is your manager of volunteers spending doing administrative tasks manually? • Program pain points. Determine which tasks are causing the most pain. • Staff turnover. Is your organization’s manager of volunteers position a revolving door? Step Five: Before you sign the contract. Spring 2016

• Operator. Who is going to operate the system? Has this person bought into the selection? • Demo. Has your manager of volunteers participated in a full-product demonstration? • Priorities. Understand that no system is going to give you everything you want. But the volunteer management system should be able to handle the majority of your top priorities. • References. Have you checked references? • Continuity. If your manager of volunteers leaves the organization will the system continue to provide your organization with the volunteer database, history of activity, activity schedules and templates for the future? Return on Investment The final question. Is your organization putting a band-aid on your volunteer management needs or investing in the future of your program? Volunteer management systems should be measured in the broad return on investment (ROI), not just upfront expenditure. Review the guidelines above and consider all costs. The system needs to do more than just functions; it also needs to build your brand, integrity, efficiency, partnerships and relationships with your volunteers. A few years ago a client told me, “The day we bought this volunteer management system was the best day of my working career. It was a clear message that my organization believes my job is important and that they want me to have the tools to do it properly. I was ready to move on just like my predecessor, but the system changed everything.” Florence May is President of The Registration System LLC (TRS). Prior to taking this high tech role, she managed operations and volunteer services for major events including the host committees for the United States Grand Prix, American Association of Museums and the National League of Cities. Florence is a frequent speaker on volunteer management best practices at industry conferences and a regular contributor to the International Festival & Event Association magazine. Tammy Parent is Senior Account Manager with TRS. Prior to serving as a technology consultant to major nonprofits and event organizations, she served as the Director of Volunteer Services for Ottawa Bluesfest and Ottawa Folk Festival. Tammy has also served as a college instructor and speaker on professional volunteer management topics.

IFEA’s ie: the business of international events

5 STEPS TO

SELLING MORE

SPONSORSHIP TO

EXPERIENTIAL

MARKETING TOURS By Michael Bleau

IFEA’s ie: the business of international events

Spring 2016

The most successful festivals and events make back most, if not all, of their production budget from sponsorship sales and participating vendor fees. While nearly every festival has defined sponsorship opportunities and lower priced 10x10 fees for local vendors, many fail to capture the potential business of experiential marketers. Experiential marketing tours, or promotional (“promo”) tours, represent one of the fastest growing segments in potential marketing sales for festivals. A recent review of global advertising agencies by AdvertisingAge found that experiential agencies grew 4% year over year, versus traditional marketing such as media, advertising and PR, which grew only 0%, 1.8%, and 2.4%, respectively. Learning how to capture this business and optimize pricing to target this unique type of event marketer can make a huge impact to an event’s bottom line. 1. Understanding the Experiential Marketing Customer Experiential marketing tours are typically produced by experiential agencies, who are hired by larger PR firms or directly by corporate brands to execute a particular tour as part of a larger overall marketing strategy. Tours can also be produced directly by experiential divisions of advertising agencies, and some brands have begun handling their experiential efforts in-house. In contrast to larger sponsorship budgets, experiential tour budgets are designed primarily for “boots on the ground” engagement with their target customers. As such, expensive and expansive sponsorship packages loaded with co-branding and digital marketing perks are often outside the scope - and budget

- of their programs. At the same time, they have considerably more money to work with than your typical local vendor. Daily event fee budget for tours can range from under $500/day to more than $5000 per 10x10 space, depending on the size and scope of their program. 2. Simplify and Clearly Define Offerings Deciding on the optimal asking price for experiential tours between the expensive sponsorship packages and local vendor pricing depends on many factors, but a good starting point is between $500 and $1500 per 10x10, depending on the daily attendance and demographics of a given event. Whereas with larger sponsors you are typically dealing with a senior advertising executive, when selling booth space to experiential marketers you can often be dealing with a coordinator-level or assistant-level employee of an agency, or a sub-contractor for the agency who specializes in this. This is because event fees make up a relatively small percentage of an overall promo tour budget. These points of contact have little appetite to work out a customized relationship and have lengthy negotiations on price, as they have a defined daily budget for anywhere from a dozen days to 100+ days of “activation,” or operating days, for their programs. They are more or less “checking off a box” for a day in the schedule at an event that meets their minimal requirements. Nothing frustrates an experiential tour booker more than having to track down a sponsorship salesperson, and then getting vague package and pricing info over the phone. These booking reps love clearly defined “10x10 foot, 10x20 foot” booth pricing within their budgets, and a list

Spring 2016

of reasonably priced options that can quickly and easily be brought back to their supervisor for review. Instead of forcing a square peg into a round hole, recognize that these types of sales are more transaction based in nature. With a little bit of brainstorming upfront to create optimal promo tour pricing, you can reap the easy money and save your energy for closing that higher-end, $50k title sponsor! 3. Showing the Event vs. Telling the Event Festival producers love to post blurbs on their websites about how great their event is, how packed and record breaking attendance levels are year after year, how they have the perfect demographic for sponsors, and so on. While a necessary and important part of the Sponsorship section (more on that shortly), event marketers are savvy to the fact that some festivals tend to exaggerate the numbers and success of years past. Due to their inability to verify festival claims, most experiential marketers take those event descriptions with a very large grain of salt, and instead look for proof of an event’s packed attendance and demographics in available event media. Rather than telling a potential experiential marketer about the festival’s audience, show them how well your event can fill their needs. Wide-angled photos of a packed house show the event to be a success in terms of attendance. Seeing lots of faces in pictures that reflect the advertised demographic provide proof those types of people attend the event. Showing off a couple promo tour booths from previous years being mobbed by smiling attendees is digital gold for selling event space. These types of pictures allow an event booker to imagine

IFEA’s ie: the business of international events

The most successful events, in terms of booth sales to experiential tours, have their pricing and direct contact info easily viewable online, and a dedicated Sponsorship rep on-hand who can close these levels of sales on behalf of the event. their own setup being successful, and tells them you can deliver in terms of target consumers and on ideal booth locations to intercept the festival attendees. If your event has produced a sizzle video about the event from a recent year, it’s even more powerful than pictures. Posting as much media content as possible on the event website - especially in the Sponsorship section - significantly increases the attractiveness of an event.

DEMOGRAPHICS • 45,000+ Health & Fitness Expo Attendees • 33,300+ Participants LA Marathon Week • 56% Male & 44% Female Participants • 62% of Participants 25-49 Years of Age • Average Individual Income of $82,461 • Participants from 50 States & 55+ Countries 4. Offer Detailed and Accurate Attendance and Demographic Information As mentioned in the beginning of this article, experiential marketers are mainly focused on what types of “boots on the ground” interactions can be achieved at a given festival or event. As such, they need to be able to quickly understand the scope of the event in terms of the audience they will be able to reach. Total attendance is a key figure, so, offering daily attendance and weekend attendance can make an event more enticing to a marketer, especially if they only have budget to come in for part of a longer event. In terms of demographics, be as detailed as possible. Typical demographics provided include income, gender, ethnicity, and the percentage of attendees that are local, regional, national, and international. Offering truthful and accurate demographic information is important not only to securing sales for this year’s event, but even more so for getting return business in future years. Experiential marketers will be expecting a certain demographic based on the information provided, so 44

if the actual attendees are outside of the target consumer for the brand, your event will likely lose a return customer and gain a reputation in the industry as an event that does not deliver as promised. It is important to understand that a given experiential agency can work with anywhere from half-dozen to over 50 brands. Stretching the truth with demographics to close one sale could lose a festival many potentially larger sales from the same company or its partners, whereas delivering on expectations could result in multiple tours being booked by the same agency in future years. 5. Communication Up Through and After the Booking I can think of several instances where I was trying to book booth space for a promo tour, and several festivals lost out on easy sales from me simply because it was too difficult or took too long to get in touch with their Sponsorship person. This can happen for several reasons. As previously discussed, experiential tours are more transaction-based. However, many festivals group experiential tour sales in with Sponsorship, which are often handled directly by the festival president or CEO. While this works for title sponsors who need that top level executive contact, having to wait to hear back from the president just to book a $1000 or $2000 booth space is needlessly complicated for the booker, and at the same time may not be the best use of the president’s time. On the other hand, some festivals lump promo tour sales in with general food and craft vendors and force the marketer to submit an entire application and wait to hear back from an unidentified point of contact to see if space is available and they are accepted into the event. This can be even more frustrating to a booker, and underestimates their value as a premium price-point vendor. Often in these cases, by the time the event producer or vendor manager connects with the experiential tour booker, they have already found and committed to another similar event that was more accessible. A recurring theme of this article has been having important information easily

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available online for experiential marketers to find, and this is no exception. Many times a potential promo tour or even a sponsor is forced to make their initial inquiry via a built in submission form, a generic “Sponsorship@______fest. com” email address or the general catch all voicemail for the festival. A promo tour booker may or may not bother trying the generic inquiry; they may simply move straight onto their next target event on the list for your region. If they do send an inquiry, they won’t be waiting around for a response before reaching out to the competition. The most successful events, in terms of booth sales to experiential tours, have their pricing and direct contact info easily viewable online, and a dedicated Sponsorship rep on-hand who can close these levels of sales on behalf of the event. Some of the top grossing events even have online systems allowing event marketers to view and book available booth space. One final note on communication is that after the sale, it’s very important to have someone easily available to handle any logistical needs or questions as they arise, up and through the event day. This will ensure positive feedback goes back to the agency for future business. Conclusion With all of the competition out there fighting for headlining sponsorship dollars, an often overlooked and potentially huge source of additional revenue for festivals and other events is selling their booth space to experiential marketing tours. Once event producers understand this category, they can tailor simplified, premium-priced booth space offerings to these customers. The best way to entice experiential tours to book is through rich multimedia, accurate and detailed attendance and demographic info, and clear and fast lines of communication every step of the way.

Michael Bleau has produced experiential marketing tours for over a decade, and is the founder of www. EventsLocker.com, the event marketing industry’s first online marketplace for festival and event producers to sell booth space and Sponsorship. Event producers have free access to a comprehensive vendor and sponsor management toolbox, where they can create pages for their festivals for inclusion in a nationwide event database, approve digital sponsor applications, and track payments, permits and other essential event logistics.

Is It Worth the Expense to Accept Credit Cards at My Event? By Scott Henry Festival organizers and vendors have been asking themselves for years whether or not it is worth the expense to accept credit cards at their events. While it’s easy to say cash is king, in 2014 Americans held an estimated 232 million credit cards and 197 million debit cards. The buying power and convenience of plastic is hard to ignore. While cash is the universal tender and easy to use, there are drawbacks. We know what happens when guests run out of cash – they can reduce the size of their purchases or stop spending all together. Some don’t want to wait in line at an ATM and then wait in line again in the food line. Others object to paying high service charges to get access to their own money. For vendors, being a cash-only business creates headaches to securely keep enough of the right currency on-site to make change. Cash also makes it easy for unscrupulous employees to steal during the event. That can be very difficult to detect -- you’re focused on keeping the lines moving that are 20 people deep at each point of sale and you can’t watch everyone who has access to the cash drawers. For event organizers that collect a percentage of vendor sales, cash-only events that run on the “honesty” system are leaving the door wide open for the vendor to creatively produce a sales number for the main office. At the September 2015 IFEA Convention in Tucson, AZ, one panel discussion addressed secure financial transactions at events. Attendees were curious about what the difference was between the average value of a cash sale and a credit card sale for a food and beverage purchase. Retail industry data suggests the average value of a credit card sale is 18 to 20 percent higher than a cash sale. That Convention session got Scott Henry at American Metro Point of Sale (AM) thinking about the client events he had supported earlier this year. Henry is a sales rep at AM, the largest company in the U.S. that rents cash registers and credit card machines for the festival and event industry. One of their POS systems pairs a cash register with a wireless modem that allows vendors to accept

cash, process credit cards in less than three seconds, and report all sales to a secure web site in real time. This allows the vendor and event organizer to view sales activity, specific numbers on what products event guests are buying from vendors, monitor inventory levels, and compute the average ticket value of cash and credit card transactions. Upon compiling data from 2015 AM client events, the differences in average ticket values were very apparent. FOOD AND BEVERAGE SALES: Low Avg Cash Low Avg Card $7.38 $9.22 High Avg Cash $8.73

High Avg Card $14.68

The average ticket value for cards over cash was 25% higher for the low average sale and 87% higher for the high average sale.

These results do not represent a scientific sample. Accepting credit cards at an event does not guarantee a higher average ticket value. Scott Henry is a Sales RepresenMERCHANDISE SALES: tative at American Metro Point of Low Avg Cash Low Avg Card Sale, the largest company in the U.S. $16.14 $21.07 that rents cash registers and credit card machines for the festival and High Avg Cash High Avg Card event industry. Anyone interested in $24.65 $59.42 more information about these com parisons is welcome to contact Scott The average ticket value for cards Henry at 651.247.8265 or scott@ over cash was 31% higher for the low americanmetro.com. average sale and 186% higher for the high average sale. Spring 2016

IFEA’s ie: the business of international events

ASSOCIATION ENDORSED PARTNERS

ASSOCIATION SPONSORS

ASSOCIATION SUPPORTERS

61st ANNUAL CONVENTION PARTNERS

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For IFEA sponsorship opportunities, contact Steve Schmader, CFEE, President & CEO at +1-208-433-0950 ext. 818 or schmader@ifea.com or Kaye Campbell, CFEE, Director of Partnerships & Programs, Phone: +1-208-433-0950 ext. 815, or kaye@ifea.com

2016 IFEA Webinar Series

2016 IFEA WEBINAR SCHEDULE THURSDAY, APRIL 21, 2016

Live Online Festival & Event Website Audit Doug Rasch, Director of Online Marketing, Edgeworks Group, Irvine, CA

THURSDAY, APRIL 28, 2016

Event Marketing from A-Z Sean King, Principle, Aspire Consulting Group, Allentown, PA

THURSDAY, MAY 5, 2016

Is Your Event Ready for Severe Weather? Take the Test and See Wayne Mahar, President, Precision Weather Service, Syracuse, NY

THURSDAY, MAY 12, 2016

Secrets to Successful Sponsorship Retention Bruce Erley, CFEE, APR, President/CEO, Creative Strategies Group Denver, CO

THURSDAY, MAY 19, 2016

Media Relations- Staying Cool When the Heat Is On Scott Fraser, Principal, Fraser Communications Group, N. Scituate, RI

IFEA is pleased to present our 2016 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.

THURSDAY, MAY 26, 2016

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 purchase to watch at your leisure. What better way to receive great educational information by great presenters while saving both time and travel expenses!

Thinking About Cashless? Take a Strategic Approach Jim Shanklin, Senior Consultant, Contratto, Inc., Seattle, WA

Registering for a Webinar: Live Webinars are available for purchase via any of the following methods: • Online at the IFEA Store • 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 • $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 Webinars on Demand to take advantage of this special offer. See separate Webinars On Demand Brochure for On Demand lineup. (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 • CFEE Elective Credit: If working toward your CFEE Certification each indiviual webinar is eligible for one CFEE Elective Credit. • Questions? Contact: Nia Hovde, Director of Marketing & Communications at: nia@ifea.com

© Copyright 2016. 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.

Why Didn’t You Tell Me That Was Excluded Andrew Vandepopulier, Producer Mike Rae, Recreation Sales Manager Carol Porter, Producer Haas & Wilkerson Insurance, Fairway, KS

THURSDAY, JUNE 2, 2016

THURSDAY, OCTOBER 13, 2016

A Spit and A Handshake Jeff English, CFEE, Senior Vice President of Administration/ General Counsel, Kentucky Derby Festival, Louisville, KY

THURSDAY, OCTOBER 20, 2016

Catering is for Show, Concessions are for Dough: The Keys to a Successful Food and Beverage Program Mary Ann Dilling, Director of Business Development, Experimental Aircraft Association, Oshkosh, WI

THURSDAY, OCTOBER 27, 2016

Maximizing Your Revenue Through Online Sales Kendra Wright, President, Saffire, Austin, TX

THURSDAY, NOVEMBER 3, 2016

From Volunteers to Super-Volunteers Florence May, President & Managing Member, The Registration System, Fishers, IN

THURSDAY, NOVEMBER 10, 2016

Capital Ideas: Identifying, Securing and Retaining Quality Sponsors Diana Mayhew, CFEE, President, National Cherry Blossom Festival, Washington, D.C.

THURSDAY, NOVEMBER 17, 2016

C’mon, Get Appy: How Mobile Gamification Inspires People to Emotionally Invest in Your Event Kevin Bridges, Technology Director Stephanie Young, Editorial Strategist Elizabeth Paolini, Marketing Director Event Quest, Kansas City, MO

THURSDAY, DECEMBER 1, 2016

16 Sensational Event Ideas and Trends from 2016 Ted Baroody, President, Norfolk Festevents, Norfolk, VA

THURSDAY, DECEMBER 8, 2016

Keeping Your Event Fresh – The Creative Process Ira Rosen, CFEE, Assistant Professor, Temple University School of Tourism and Hospitality Management, Point Pleasant, NJ

Thursday, April 21, 2016

11:00 a.m. – 12:00 p.m. Mountain Time Live Online Festival & Event Website Audit Doug Rasch, Director of Online Marketing Edgeworks Group, Irvine, CA Having a user-friendly and Search optimized website is key to successful events and festivals. Join us for an in-depth analysis by online marketing and SEO professionals into Event Industry websites. Don’t miss out on the chance to pick up practical online marketing tips, SEO best practices, and tools to evaluate your own event’s website. If you would like your website to be part of the live audit, submit your Festival or Event’s URL to nia@ifea.com by April 14th, 2016; up to 5 websites will be selected for this live website audit. Doug Rasch is a Google Certified Advertising Professional. Doug began his internet Marketing and SEO Career in 2000, promoting Events and Live Theater in Southern California, before joining Edgeworks Group. Doug is currently the Director of Online Marketing at Edgeworks Group.

Thursday, April 28, 2016

11:00 a.m. – 12:00 p.m. Mountain Time Event Marketing from A-Z Sean King, Principle Aspire Consulting Group, Allentown, PA Twenty-six letters in the alphabet. The Event Marketing from A-Z webinar explores 26 ideas and concepts, one for each letter, to make your 2016 Festival and Event marketing more effective. Updated for the 2016 event season, the A-Z session reviews the basics and introduces the latest trends in advertising, marketing, social media, sponsorships and more. Marketing changes in the blink of an eye. Spend this fast-paced, informative hour to gain insight on what will make your 2016 event marketing plan a success. Sean King is a Principle at Aspire Consulting Group in Allentown, PA and has been consulting with small businesses and non-profit organizations for over 20 years. He also blogs regularly at www. artsmarketingblog.org. You can follow 48

Sean on Twitter @skingaspire or contact him at: sking.aspire@gmail.com.

Thursday, May 5, 2016

11:00 a.m. – 12:00 p.m. Mountain Time Is Your Event Ready for Severe Weather? Take the Test and See Wayne Mahar, President Precision Weather Service, Syracuse, NY This Webinar will feature a unique Table Top severe weather exercise geared to outdoor events. This exercise features developing severe weather on a typical outdoor fair, festival or concert timeline. The clock is ticking. Your decisions will be critical. The Webinar will be followed by a quick review of severe weather safety for outdoor events and a few minutes for Q & A at the end. Wayne Mahar is the President of Precision Weather Service, a private weather consulting firm based in Syracuse, NY and the leaders in forecasting and safety for events in North America. Clients include The Academy Awards, MLB All Star Gala, Super Bowl concerts, San Francisco to LA AIDS Bike Ride, Oklahoma City Heart Walk, most Hollywood red carpet events, Coachella, high profile weddings, major concerts, New York State Fair, Los Angeles St. Patrick’s Day Festival, Toronto Nuit Blanche Festival, Boots and hearts Country Music Festival and many more...

Thursday, May 12, 2016

11:00 a.m. – 12:00 p.m. Mountain Time Secrets to Successful Sponsorship Retention Bruce Erley, CFEE, APR, President/CEO Creative Strategies Group, Denver, CO Finding sponsors is one thing. Keeping them is another. What are some of the secrets to sponsor retention as well as generating interest to upgrade a level. Bruce Erley will share some of the secrets they use at CSG to keep sponsors coming back from setting expectations, assuring successful engagement, integrating the sponsorship into their organization and creates incentives for future upgrades. Bruce Erley, CFEE, APR is a 30-year veteran of the event marketing and sponsorship field and is regarded as a leading

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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, May 19, 2016

11:00 a.m. – 12:00 p.m. Mountain Time Media Relations Staying Cool When the Heat Is On Scott Fraser, Principal Fraser Communications Group, N. Scituate, RI We’ve all said things we wish we could take back, but when it comes to speaking with the media you always have to be on your “A” game. There is no room for slips of the tongue or stumbles. This session will give you some of the basic “Whos, Whats and Hows” of media relations. We will also discuss some Very Important Points that all who deal with the media should know. You will learn the proper techniques for preparing for and taking part in a media interview—what to wear, how to sit, etc. Remember it is not just what you say, how you say it is equally as important. Scott Fraser is a veteran communications professional with more than 30 years of experience. As principal of Fraser Communications Group (FCG), he provides public relations, media relations, crisis communications, government affairs and voiceover talent for his clients who range from small non-profits, to international corporations. He has been hired to protect the reputations of companies in crisis, and gain positive public exposure for clients ranging from an emerging high tech company to established organizations in healthcare. Sought after as a public speaker, Fraser also is an adjunct professor at Salve Regina University in Newport, RI, teaching courses in Crisis Communications and Public Relations.

Thursday, May 26, 2016

Thursday, June 2, 2016

Why Didn’t You Tell Me That Was Excluded Andrew Vandepopulier, Producer Mike Rae, Recreation Sales Manager Carol Porter, Producer Haas & Wilkerson Insurance, Fairway, KS

Thinking About Cashless? Take a Strategic Approach Jim Shanklin, Senior Consultant Contratto, Inc., Seattle, WA

11:00 a.m. – 12:00 p.m. Mountain Time

The biggest misconception about event liability insurance is that there’s little difference from one general liability policy to another. It’s a dangerous assumption and could lead to catastrophic consequences for you and your event. In this session we’ll review some of the standard and specialty exclusions that could lead to an uninsured claim and show you how to find them before it’s too late. After graduating from the University of Central Missouri with a degree in Business and Education Andrew Vandepopulier began working in the disaster and catastrophe claims field for Farmers Insurance. He spent 3 years working around the Midwest handling all types of claims from hail to wildfires. In 2010, Andrew joined Haas & Wilkerson’s Fair and Festival division and has been serving the insurance and risk management needs of the event world ever since. With Clients all over the country ranging from the largest fairs in the nation to the smallest festivals, we have a product for all types of events.

11:00 a.m. – 12:00 p.m. Mountain Time

Department. He’s a 2004 graduate of Washburn University School of Law in Topeka, KS and received his CFEE certification in 2013.

Thursday, October 20, 2016

11:00 a.m. – 12:00 p.m. Mountain Time

Now that all US consumers have “embedded-chip” credit and debit cards, and all retailers are required to use chip-reading/NFC (Near-Field Communications) Point of Sale devices, cashless transactions are inevitable for festivals and events. Your visitors will expect and demand non-cash transactions from all of your points of sale. Join Jim Shanklin, CFEE for ideas on how to strategically` address the inevitable changes, minimize the “push-back” from board members and vendors and avoid other pitfalls of moving to a cashless event. Jim Shanklin founded Festivals.com in 1995 and has been a 20-year IFEA member. Now with his new company, Contratto, Inc. he is working with IFEA members in cashless and sponsorship projects.

Thursday, October 13, 2016

11:00 a.m. – 12:00 p.m. Mountain Time A Spit and A Handshake Jeff English, CFEE, Senior Vice President of Administration/ General Counsel Kentucky Derby Festival, Louisville, KY The list of complex legal issues facing the festival and event industry continues to grow each year! Let’s spend an hour discussing your event’s legal standing on issues such as protestors, waivers, personal copyrights, risk management, drones, and conceal & carry laws. We’ll also answer the age-old question of whether contracts agreed to the old fashioned way – with a spit and a handshake – are legally enforceable! There will be plenty of time for Q&A to help save money on some of those legal bills. Jeff English is the Senior Vice President of Administration and General Counsel for the Kentucky Derby Festival. For eight years he’s managed KDF’s legal work, along with serving as the Executive Director of the non-profit KDF Foundation and supervising the KDF Merchandise Spring 2016

Catering is for Show, Concessions are for Dough: The Keys to a Successful Food and Beverage Program Mary Ann Dilling, Director of Business Development Experimental Aircraft Association, Oshkosh, WI Come and take part in a fun filled educational Webinar on everything you ever wanted to know about the Food and Beverage industry. Menus, accountability, commission structure, and commemorative pieces are just a few of the topics that will be covered in this Webinar. Mary Ann L. Dilling, CFEE is currently the Director of Business Development for the Experimental Aircraft Association (EAA) in Oshkosh, WI. As the Director of Business Development, Mary Ann’s team encompasses three areas: Exhibits, Advertising and Sponsorship. The team currently recruits more than 800 exhibitors during its fly in AirVenture. Before November 2015, Mary Ann was the Director of Events and Hospitality at EAA for the past 3 festivals seasons where her department was for responsible the F&B program; the Sales Program for EAA’s venues; the Housing Program that secures the over 2400 room nights for their annual event AirVenture; the Event Administration Program ; and A/V Program. Previously she served as the Executive Director of Fond du Lac Festivals for the past eleven festivals seasons.

IFEA’s ie: the business of international events

Thursday, October 27, 2016

Thursday, November 10, 2016

Thursday, November 17, 2016

Maximizing Your Revenue Through Online Sales Kendra Wright, President Saffire, Austin, TX

Capital Ideas: Identifying, Securing and Retaining Quality Sponsors Diana Mayhew, CFEE, President National Cherry Blossom Festival, Washington, D.C.

11:00 a.m. – 12:00 p.m. Mountain Time

Are you getting the most bang out of your digital buck? There’s more to ecommerce than just “selling stuff”! You can utilize your website to facilitate business with sponsors, vendors, renters, and more. When you do sell online, you can also learn how to maximize your revenue per sale! Join us as we cover the ins and outs of increasing the value of your online presence based on our 15+ years’ experience selling online. Kendra Wright has spent the last 20 years in online marketing, working with clients like Nike, KEEN Footwear, Jeep, Chrysler, Intel, Panasonic and Frito Lay. Six years ago, she gave it all up to launch Saffire, integrated online marketing and ticketing for hundreds of events, venues and destinations.

Thursday, November 3, 2016

11:00 a.m. – 12:00 p.m. Mountain Time From Volunteers to SuperVolunteers Florence May, President & Managing Member The Registration System, Fishers, IN Turning your volunteers into a strong motivated team has never been easier. Identify your volunteer program’s strengths, weaknesses and alarming pitfalls in five easy steps from: Volunteer Training, Job Descriptions and Risk Controls to Volunteer Management Technology and Evaluation. Volunteers can be your greatest event assets – the better you prepare, the better return you can receive on your volunteer investment. Florence May led the TRS online registration system development project in 2000 to support her event planning company, Simply Hospitality. She conceived the software based on 15 years of sport and event management working with clients including National League of Cities, American Association of Museums, NCAA Final Four Host Committees, and the Indianapolis Motor Speedway’s USGP. Flory is a national speaker and author on topics including professional event management, volunteer best practices and top technical trends. 50

11:00 a.m. – 12:00 p.m. Mountain Time

This important Webinar will focus on topics that are critical to sponsorship success: Expanding your prospect base and keeping the pipeline filled; Creating assets and benefits beyond the “norm”; Understanding/ identifying motivating factors that attract potential sponsors; and Making that “electric” connection between sponsors and your event, focusing on the value of strategic activation. Diana Mayhew became Executive Director of the National Cherry Blossom Festival in 2000, and has been President of the National Cherry Blossom Festival since 2007. Her success as a “connector” has led to developing strong partnerships with business, media, government and industry leaders, resulting in the Festival’s growth in programming, funding, and staff support. Today, the strengthened brand of the National Cherry Blossom Festival receives local, national and international recognition, attracting more than 1.5 million attendees each year and generating over $150 million for the nation’s capital annually. Diana currently serves on the World Board and the Foundation Board of the International Festivals & Events Association (IFEA) and is a member of Leadership Greater Washington, the Destination DC Marketing Advisory Committee, and the Woman’s Leadership Group of the Boys & Girls Club of Greater Washington. She was recognized by the Washington Business Journal as one of the 2012 Women Who Mean Business.

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11:00 a.m. – 12:00 p.m. Mountain Time

Join the team from Event Quest, a start-up business living inside Hallmark Cards, Inc. in Kansas City, MO, as they share how creative uses of technology can create a sense of community within events, integrate sponsors into the experience and engage attendees in a truly meaningful way. Event Quest is a start-up business that lives inside a big corporation. This team combines 100+ years’ worth of connecting knowledge from Hallmark Cards Inc., with the nimble freedom to create mobile adventures. Event Quest has created scavenger hunt experiences for events large and small, from Kansas City’s Irish Fest to Harvesters’ brand-new “friendraising” event, Fed-up Fest.

Thursday, December 1, 2016

11:00 a.m. – 12:00 p.m. Mountain Time 16 Sensational Event Ideas and Trends from 2016 Ted Baroody, President Norfolk Festevents, Norfolk, VA Join us for this idea inspiring Webinar where the 16 best ideas and trends that took place at festivals & events in 2016 will be presented. Covering different areas of the event industry from sales, operations and programming this Webinar will not only be a great recap of 2016 – but hopefully ignite some ideas for your events for 2017. Good ideas can be and should be a win-win-win partnership - Good for the guest, your partners and for you! 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.

Thursday, December 8, 2016

11:00 a.m. – 12:00 p.m. Mountain Time Keeping Your Event Fresh – The Creative Process Ira Rosen, CFEE, Assistant Professor Temple University School of Tourism and Hospitality Management Point Pleasant, NJ With everything going on in the world today, and the rapid pace of change, if your event isn’t constantly growing, changing and keeping up with times, you may soon start to see it dwindle! During this important session, you will learn about the many tools and techniques that you need to be aware of to keep the excitement in… and attendees at… your festival. Ira Rosen is an Assistant Professor with Temple University’s School of Tourism and Hospitality Management. He teaches several event management courses and directs the School’s award-winning Event Leadership Executive Certificate Program. Additionally, he is President and Chief Executive Officer of Entertainment On Location, Inc. (EOL), a full-service event production and consulting company based in Point Pleasant, New Jersey.

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 Store. 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

Spring 2016

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, 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.

IFEA’s ie: the business of international events

2016Call for Inductees Please submit the following information for your nomination:

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

Known as the associations most prestigious honor, the IFEA Hall of Fame recognizes those outstanding individuals who, through their exceptional work and achievements, have made a significant contribution to the Festivals and Events Industry. The International Festivals & Events Association is now accepting nominations from its members for those individuals who meet this standard for the 2016 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 61st Annual IFEA Convention & Expo, Date & Location TBD, where they will be inducted at a reception, in their honor. NOMINATION CRITERIA Nominations must represent a current or past IFEA member who has made substantial achievements and/or contributions to the festivals and events industry. Nominees can be retired and represent any facet of our industry (i.e. vendor, supporter, senior professional, etc.). (Current IFEA Board of Directors and Staff Members are not eligible to be nominated).

C. NOMINATION QUESTIONS • Please answer each of the following questions citing specific examples. Points will be awarded for each question. Points awarded are listed below. • Please provide up to a 1 (one) page response (single sided) for each of the below questions, for a maximum total of 4 (four) pages. 1. Explain how your nominee has made a difference to the festivals & events industry. (25 points) 2. Submit a general overview of your nominee’s career, including organizations they have worked for, positions held, titles, awards, etc. (25 points) 3. Describe the level of involvement your nominee has had with the IFEA during their career. (25 points) 4. What void would there be if he/she were not an event professional? (25 points) D. ENTRY FORMAT: Please EMAIL your nomination in a Word document. E. SUBMIT ENTRIES TO: Nia Hovde, Director of Marketing & Communications at nia@ifea.com F. QUESTIONS: Please contact: Nia Hovde – nia@ifea.com +1-208-433-0950 ext: 3 To view a complete list of past inductees and their stories go to the Industry Awards / Hall of Fame section on www.ifea.com.

Nominations should be submitted no later than 5:00 PM (MST) Monday, June 20th, 2016

Includes 2 nights hotel, airfare and Convention registration.

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 2016 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 61st Annual IFEA Convention & Expo, Date & Location TBD. As the guest of the IFEA the winner will receive an all expense* paid trip to the convention to accept their award. All participants in the program will be promoted through local and national media releases, available on request. The finalist will be featured in a future issue of â&#x20AC;&#x153;ieâ&#x20AC;? magazine, and each semi-finalist will receive a certificate of recognition. Volunteer nominations submitted for the 2015 Award may be carried over into the 2016 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 2 nights hotel, airfare and Convention registration. To view a complete list of past winners and their nominations, go to the Industry Honors section on www.ifea.com

NOMINATION CRITERIA 2016 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 2015 Volunteer of the Year. Please submit the following with your nomination. (Not required at time of nomination). 1. A photograph of the volunteer you are nominating. 2. A local media list (up to 15 contacts) in order for IFEA to send Press Releases to your media. • The preferred media list submission is in an Excel format. • Please include: Name; Organization; Address; City; State; Zip; Phone; Fax; Email E. ENTRY FORMAT: • Please email your nomination in a Word document. F. SUBMIT ENTRIES TO: Nia Hovde, Director of Marketing & Communications at nia@ifea.com G. QUESTIONS: Please contact Nia Hovde, nia@ifea.com, +1-208-433-0950 ext. 3

Nominations should be submitted no later than Monday 5:00 PM (MST) June 20th, 2016 * Pixels Per Inch ** Pixels Per Centimeter

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

LEGACY SCHOLARSHIPS Supporting and Educating the Festivals & Events Industry Since 1993.

Each of the following IFEA Foundation Legacy Scholarships serve a selected audience(s) within our industry, as identified, by providing an annual scholarship to the IFEA Annual Convention & Expo (registration only). We invite you to look through the opportunities, take a moment to learn a little more about the special individuals and groups attached to each, and apply for those that you may qualify for. For more information, go to: www.ifea.com. The Nick Corda Memorial Scholarship Providing support to young/new professionals currently completing their education or with less than three years in the industry. The Carolyn and Lee Crayton Legacy Scholarship Providing support to a deserving individual/organization from a smaller market, with grand visions for helping their community through events, but not yet a budget to match those visions. The Judy Flanagan Scholarship Providing support to a deserving individual/ organization whose event involves a parade.

The Georgia Festivals & Events Association Scholarship Providing support to a deserving individual/organization from Georgia.   The Bill & Gretchen Lofthouse Memorial Scholarship Providing support to a deserving individual/organization currently struggling with short-term economic or start-up challenges. The Mampre Media International Scholarship Providing support to a deserving individual working with media/marketing responsibilities for an event. The Jean McFaddin Legacy Scholarship Providing support to a deserving individual/organization who has had at least 2 years active involvement, either as staff or volunteer, in producing a multi-dimensional event and whose career/lives have been inspired or touched by the Macy*s Thanksgiving Day Parade. The Daniel A. Mangeot Memorial Scholarship Providing support to a deserving individual/organization seeking advanced education and professional certification. This scholarship provides core curriculum registration fees toward the attainment of the IFEA’s Certified Festival & Event Executive (CFEE) designation. The Mid-Atlantic Festival & Event Professionals Scholarship  Providing support to a deserving individual/organization within the Mid-Atlantic United States.

The Richard Nicholls Memorial Scholarship Providing support to a deserving High School senior or College Student with a history of commitment to participating or volunteering in non-profit events / organizations; someone who is well-rounded in extra-curricular activities in and outside of campus life and who has a passion for helping others and/or supporting a cause that enhances the quality of life for individuals or the community at large. The Bruce & Kathy Skinner Scholarship Providing support to young/new professionals currently completing their education or with less than three years in the industry. The John Stewart Memorial Scholarship Providing support to a deserving individual working with technology responsibilities supporting an event(s).

The Tennessee Festival & Event Professionals Scholarship Providing support to a deserving individual/organization from Tennessee.   The Pete Van de Putte Scholarship Providing support to a deserving individual/organization from Texas.

The Joe & Gloria Vera Scholarship Providing support to a deserving individual/organization from Texas.

The Don E. Whitely Memorial Scholarship Providing support to a deserving individual/organization whose event involves a parade. The Kay Wolf Scholarship Providing support to a deserving individual/organization from Texas.

The George Zambelli, Sr. Memorial Scholarship Providing support to a deserving volunteer who has given their time and energies to their community festival/event.

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

2016 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 61st Annual IFEA Convention & Expo, Date & Location TBD. Spring 2016

IFEA’s ie: the business of international events

THE CONTEST DEADLINES • EARLY BIRD ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JUNE 20, 2016 ❍ Entries received on or prior to June 20, 2016 will receive the Member early bird rate of $30 per entry or $75 per Grand Pinnacle entry or the Non-Member early bird rate of $60 per entry or $150 per Grand Pinnacle entry depending on IFEA Membership status.

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. • 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.)

• FINAL ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JULY 18, 2016 ❍ Entries received between Tuesday, June 21, 2016 and Monday, July 18, 2016 will receive the Member final entry rate of $35 per entry or $100 per Grand Pinnacle entry; or the Non-Member final entry rate of $75 per entry or $200 per Grand Pinnacle entry depending on IFEA Membership status.

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.

ELIGIBILITY • Entries must have been produced and / or used for the first time between July 21, 2015 and July 18, 2016. • 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 11pt. • To receive the member rate for Pinnacle entries you must be an IFEA member in good standing. • Each entry form submitted must be completed in its entirety in order for items to be judged eligible. • Entry must be received at the IFEA Office by the above dates to be eligible. • Please consider the processing of your credit card or the cashing of your check for your Pinnacle entries, notice that your entries were received and processed. IMPORTANT NOTES • Items submitted are NOT able to be returned. • Judges will not refer to items in other categories, nor will they transfer items already judged in other categories (the number of entries must equal the number of categories entered). • A separate entry form must be submitted for each entry (copy as necessary). • Multiple entries or categories on a single form will not be accepted. • For all entries, please paper clip/bull clip entry form to item. Please do not glue or tape form to item. • Multiple entries within the same notebook/ bound format/ CD/ USB Drive, will not be accepted. Please separate entries. • Entries required to be submitted in a “notebook” (Categories 1, 38-68) means that the entry should be submitted in some sort of bound format in order to keep all the materials together. For example, a 3 ring binder; spiral bound; in a report cover or a bound publication with hard/soft covers. Please do not staple or paper clip your entries together. • UPDATED: If submitting categories 1 or 38-68, in addition to the printed entry being submitted, please also submit each entry as a single pdf document (including all supporting materials within that single document.) Please submit PDF on a USB ThumbDrive or Disk. If submitting one or more entries from categories 1 or 38-68, please include all entries on a single USB Thumbdrive/Disk and attach to overall payment form. • After submitting your entries, please also submit a high resolution copy of your organization or event logo. Please email to nia@ifea.com – subject “Logo for 2016 Pinnacle Entry – and your event/organization name.”

IFEA’s ie: the business of international events

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SCORING SYSTEM • Categories 1, 38-68 will be judged using a point system for each individual entry. Each entry is scored separately. Scores will not be combined. • A possible total of 100 points may be awarded to each entry. • Be sure to answer and include all necessary information for each entry. • If a required element within an entry is not applicable to your event, please state so within your entry to avoid being marked down on points or indicate what element you have instead. • The scoring system is not applicable to TV, Radio, Multimedia, Print & some Merchandising categories. • We are unable to provide you with the points awarded for each of your entries. • Failure to meet all requirements or answer / provide all necessary information will result in a deduction of points. THE WINNERS • All finalists for the IFEA / Haas & Wilkerson Pinnacle Awards will be notified by email the last week of August, 2016. Notification will go to the primary IFEA Member in addition to the contact listed on the Awards entry form. If you have not received a notification email, please contact nia@ifea.com. • The 2016 IFEA/Haas & Wilkerson Pinnacle Award winners will be announced at the 61st Annual IFEA Convention & Expo, Location/Date TBA. All winners will receive an email on the evening of the Awards Presentation which will include a complete list of winners, press release, logos, etc. This email will go to the primary IFEA Member and the contact person listed on the Pinnacle Awards Entry Form. A complete list of winners will also be posted on the IFEA Website the evening of the Awards Presentation. • If you are not able to be present at the IFEA Awards Presentation to accept your award(s), they will be mailed to you 3-4 weeks after the IFEA Annual Convention. • Awards will be shipped via USPS and make take up to 3-4 weeks to arrive at their destination (depending on location). If you would like us to ship your awards via UPS/FedEx, please provide your UPS/FedEx account number or a credit card for us to charge the shipping fees. • Organizations submitting entries for the Grand Pinnacle category must register at least one person for the 61st Annual IFEA Convention & Expo, Date & Location TBD or arrange for a representative to accept any award won on your behalf. • Gold winning entries will be on display during the 61st Annual IFEA Convention & Expo. • Winning entries will also be available to view at www.ifea.com shortly after the 61st 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 / 2016 Pinnacle Awards FREQUENTLY ASKED QUESTIONS As you prepare your entries, you will have many questions. To help answer many of your questions, we have posted our most frequently asked questions on the IFEA website at www.ifea.com / Awards / Pinnacle Awards / 2016 Pinnacle Awards, check back often as we’ll continue to post questions and answers as they come in. If you have any further questions about the IFEA/Haas & Wilkerson Pinnacle Awards, please contact Nia Hovde at +1-208-433-0950 Ext 3 or nia@ifea.com. Go to www.ifea.com to find answers to common questions such as: • When you ask for entries in the original format, what does that apply to? • What do you mean when you say, please provide entries in a ‘notebook’ or ‘bound format’? • For the more in depth entries (categories 1, 38-68) do I have to answer or provide information for all the criteria and requirements listed under the category? • Referring to the above question, what if something in a specific category that is required, either does not apply to our event, or we are unable to provide the information required. • Certain entries ask for budget information, however we aren’t able to reveal certain elements of that information as it is not public knowledge. How can I answer the required information if I’m not able to provide it? • On certain entries, it says we can only provide 5 examples of supporting materials . . . how can I possibly only provide 5 examples!? • Why do we need to provide certain entries on disk or Thumbdrive? • Referring to the above question, am I able to save all of the entries I’m submitting on one disk/Thumbdrive, instead of saving each individually? • Are we able to enter the same event into multiple categories? • Are we able to enter multiple items (that are different) in the same category, for the same event? • I’m not a member of the IFEA, am I still able to enter? • Can I pay for my entries via a wire transfer? • How are the Pinnacle Award Entries Judged? • Why do you not publish the points awarded for each entry in the list of winning entries? • Who judges the Pinnacle Entries? • Why aren’t we able to know the names of the judges? • It looks like there’s even more requirements for some categories . . what specifically do I need to answer for categories 1, 38-68? • For the above listed categories . . . what order should I list my entry in, in response to the requirements?

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. • For categories 1, 38-68, that require written information and are also required to be put into a ‘notebook’ or ‘bound format’ be sure to submit the information in that category in the order that it is asked so it’s easier for the judges to compare one entry to another. • When saving your entry to a disk or Thumbdrive to go along side your individual entry, be sure to save your entry as one document – instead of multiple documents. • When putting together categories 1, 38-68 that require a lot of work to create . . . if you have time, make 2 copies! What better way to keep a record of what you did each year not only at your event, but also for the next year’s Pinnacles! • Remember the eligibility period for the pinnacles. Entries must have been produced and/or used for the first time between June 21, 2015 and July 18, 2016. 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

Spring 2016

IFEA’s ie: the business of international events

THE GRAND PINNACLE 1) GRAND PINNACLE The Grand Pinnacle is the highest award given by the IFEA in recognition of those Festivals and Events* who have a balance of all the elements necessary to ensure a successful event. (*Of those events who enter and judged within each of the four separate budget categories.) ENTRY INFORMATION: For entry, please provide a detailed description to each section requested within: 1. Introductory Information 2. Additional Requirements 3. Supporting Materials 4. Supporting Questions • Submit entire Grand Pinnacle Entry within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • In addition to the required printed entry, please also provide a pdf document of your entire entry (as 1 (one) document) on a CD or Thumbdrive. Attach CD or Thumbdrive to overall payment form. (Okay to submit all of your Pinnacle entries on 1 (one) CD or Thumbdrive.) • Please submit your entry in the order listed here. • Points will be awarded to the individual sections of your entry, in addition to the overall Judges Criteria points. 1. Introductory Information: (10 points) Within a maximum of 4 pages (total), provide an overview of your event, stating your event’s: a. Event Dates b. Purpose / Mission c. History/Description of Event d. Types of Activities Included Under the Festival / Event Umbrella e. Overall Revenue and Expense Budget f. Estimated Economic Impact g. Attendance Numbers & Demographics h. Volunteer Count & Demographics i. Staffing Numbers and Positions j. Founding / Incorporation Date and Management System (i.e.: 501(c)3 non-profit staff & volunteer board; city managed; profit-making partnership, etc.) 2. Additional Requirements: (40 Points) Include a detailed overview of each of the sections listed below (a-e*) for your festival / event, using no more than two (2) pages for each section. • Make each section a separate tab in entry in order for the judges to clearly identify them. • If your festival/event does not include one or more of the sections listed below, please provide an overview as to why your event does not include that element, or what you provide instead, so as not to lose points. a. Promotional/Marketing Campaign & Media Outreach (Includes but not limited to: What was your overall message/ slogan/image that you projected for your event this year? What was your target population, who received the message, what types of mediums did you utilize and who promoted your message. ) b. Website / Social Media / Multi-Media Program /Campaign c. Overall Sponsorship Program (Provide an overview of your overall sponsorship program – how many sponsors, who are they and what do they sponsor and total sponsorship funds.) d. Critical Component Programs *Provide up to a one (1) page description for each of the following programs (if not applicable, please state as such and/or what your festival/event has in its place.) • Volunteer Program • Green Program 60

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• • • •

Educational Program Children’s Program Food & Beverage Program Entertainment Program (music, artists, theatre, performers etc.) • Merchandise Program • Community Outreach Program • Emergency Preparedness Program e. Descriptions of any other Special Programs unique to your event. 3. Supporting Materials: (10 Points) • Please also include any necessary supporting materials for the festival/event - limiting materials to no more than 5 examples for each area in the 2.) Additional Requirements section (if applicable) (a-e). • Supporting materials may be placed within a specific section of the entry, or at the end. 4. Supporting Questions: (10 points) Please answer the following questions. (Maximum of 1 page per question) a. What did you do to update / change the event from the year before? Were your updates / changes successful? ❍ If the event is a new event, please answer the following question instead: • “What challenges / obstacles did you foresee / encounter in creating the event, and how did you handle them?” b. Please provide measurable results / examples for question (a). c. What makes the event stand out as an internationally recognized event? d. Why should the event win the IFEA / Haas & Wilkerson Grand Pinnacle Award? Judging Criteria: (30 points) The Grand Pinnacle Entry will be judged based on the following criteria. Please refer to the Entry Information for further details. The following Judging Criteria is applicable to both the individual entry and the overall event. • Is the entry / event well organized? • Is the content professional? • Is the message clear? • Is the entry / event designed and laid out well? • Is the event creative and / or unique? • Does the entry relay the image of the event? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Does the entry match the purpose / mission for the event? • Have all requirements been met? Additional Notes: • Be sure to answer and provide information for every section and area listed in the entry requirements. Failure to provide information for each section / element will result in a deduction of points. If a required element is not applicable to your event, please state as such and/or what your festival/event has in its place. • This entry is separate from all other categories and divisions. Judges will not refer to, or transfer items from other categories. • Organizations submitting entries for the Grand Pinnacle category must register at least one person for the 61st Annual IFEA Convention & Expo, Date and Location TBD. or arrange for a representative to accept any award your behalf.

CATEGORIES TELEVISION & RADIO ENTRIES 2)

BEST TV PROMOTION

BEST FULL LENGTH TV PROMOTION

BEST FULL LENGTH TV PROGRAM

BEST EVENT VIDEO

BEST RADIO PROMOTION

(Ad Spot or PSA)

(Local Programming)

(National Promotion / Syndication) (For Sale)

(Ad Spot or PSA)

ENTRY INFORMATION FOR CATEGORIES 2-7: • Submit TV/Video entries (Categories 2-5) each individually on a either a DVD or Thumbdrive. • Entry should be viewable in Windows Media Player or QuickTime. • All TV/video entries should be encoded for Region 1 or Region 0 DVD capabilities. • (Please do not submit Blu-Ray Disks.) • All Radio entries should be submitted on a CD or Thumbdrive (not a DVD) • Entry should preferably be submitted as a wave file, MP3 file or WMA. • Please clearly label each DVD / CD / Thumbdrive and attach entry form. • Only one video/radio spot per DVD / CD / Thumbdrive. • Submit EACH entry SEPARATELY. • DO NOT combine multiple entries on DVD / CD / Thumbdrive. • These are standalone items and no written information is required. • Make all DVD’s / CD’s set to Auto Play. Judging Criteria: • Does the entry relay the image of the event? • Is the item creative and / or unique? • Is the message clear? • Is the item organized? • What is the “Usability” factor? • What is the overall impression?

MULTIMEDIA ENTRIES 7)

BEST EVENT WEBSITE

BEST ORGANIZATION WEBSITE

BEST EVENT / ORGANIZATION E-NEWSLETTER

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

(Clearly print or type a link to download materials on entry form under Section 3. Submit 3 consecutive issues.)

10) BEST MISCELLANEOUS MULTIMEDIA • • • •

(Includes, but is not limited to items such as: Screen Savers, Live Web-casts, Electronic Billboards, etc.) Submit in format used. Preferable method for Videos is a YouTube link. Only one multimedia item per entry. Clearly print or type link on entry form under Section 3 or on separate sheet of paper if necessary.

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 7-12, entries will be reviewed online by judges. • Be sure to make the website link goes 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.)

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?

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 for this entry.

19) BEST COMPANY IMAGE PIECES

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

20) BEST COVER DESIGN

(Includes covers from items such as Magazines, Newspapers, Brochures, Programs etc.) • Submit cover only – mounted on poster board.

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

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

23) BEST AD SERIES

(Submit a maximum of 5 ads.) (If possible, mount all ads one same poster board.)

24) BEST PROMOTIONAL POSTER

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

25) BEST COMMEMORATIVE POSTER

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

26) BEST EVENT PROMOTIONAL PHOTOGRAPH

(Promotional photograph for your event) (Photo Dimensions: 8 inches x 10 inches. Submit photo mounted on Poster board - 2 inch margins.)

27) BEST OUTDOOR BILLBOARD

(Submit photo or print out of billboard, mounted on poster board.)

28) BEST EVENT INVITATION

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

IFEA’s ie: the business of international events

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.

Spring 2016

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

CATEGORIES EVENT DÉCOR & AMBIANCE ENTRIES 29) BEST STREET BANNER

(Submit photo or printouts of banner only, mounted on poster board. Do not send actual banner.)

30) BEST MISCELLANEOUS ON-SITE DECOR

(Includes but is not limited to: directional signage, stage backdrops, entryways, flags, inflatables, etc.) (Submit only one decor item per entry.) (Submit photo of decor, mounted on poster board.)

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

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

(Does not include Tank Tops, Long-Sleeve T-Shirts or Collared/Polo Shirts)

32) BEST PIN OR BUTTON

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

33) BEST HAT 34) BEST OTHER MERCHANDISE

(For merchandise other than T-shirts, pins, hats etc. that you have for sale at your festival/event.)

35) BEST MISCELLANEOUS CLOTHING

(i.e. - jackets, sweatshirts, long-sleeve t-shirts, polo shirts, tank tops, socks, scarves, etc.)

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

36) BEST NEW MERCHANDISE

(New merchandise to your festival/event/ organization)

37) BEST SPONSOR GIFT

(A gift a festival/event gives to a sponsor of their festival/event.)

Spring 2016

IFEA’s ie: the business of international events

CATEGORIES SPONSORSHIP ENTRIES 38) BEST TARGETED SPONSOR SOLICITATION PROPOSAL

(Actual Sponsorship Proposal that was used to target a specific sponsor for your festival/event.) 1. Overview Information: Please provide a detailed overview explaining the following using no more than one (1) page per section: a. Introduction and description of main event. b. Name of Sponsor c. Introduction, effectiveness and success of Sponsor solicitation package

2. Supporting Materials: a. Please provide a sponsor solicitation package that was actually used to target a specific sponsor. • Provide in the format used to present to the sponsor and with any other additional materials that were sent with the proposal. (Okay to substitute name of sponsor for generic name for confidentiality, however please make it clear on your entry you are doing this.)

39) BEST INDIVIDUAL SPONSOR FOLLOW-UP REPORT

(Actual Follow-Up Report that was generated for a specific sponsor for your festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following using no more than one(1) page per section: a. Introduction and description of main event. b. Name of Sponsor c. Introduction and effectiveness of Sponsor follow-up report 2. Supporting Materials: a. Please provide a sponsor follow-up report that was actually sent to a specific sponsor. • Provide in the format used to present to the sponsor and with any other additional materials that were sent with the report. (Okay to substitute name of sponsor for generic name for confidentiality, however please make it clear on your entry you are doing this.)

40) BEST SPONSOR PARTNER

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

IFEA’s ie: the business of international events

Spring 2016

ENTRY INFORMATION FOR CATEGORIES 38-39: • Submit category 38-39 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For each entry, please provide detailed information to the following: 1. Overview Information (20 points) Please provide the required information listed under the specific category to the left. 2. Supporting Materials: (50 points) Please provide materials listed under the specific category to the left. Supporting materials should be placed at the end of the entry. 3. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the item / entry well organized? • Is the content professional? • Is the message clear? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met? • Would you recommend or support this opportunity if in a position to do so?

• Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left. 2. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry well organized? • Is the content professional? • Is the message clear? • What is the overall impression? • Have all requirements been met?

CATEGORIES SPONSORSHIP ENTRIES 41) BEST SINGLE NEW SPONSORSHIP OPPORTUNITY

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

42) BEST SPONSORSHIP PROGRAM FOR INDIVIDUAL SPONSOR

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

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

43) BEST OVERALL SPONSORSHIP PROGRAM

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

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

ENTRY INFORMATION FOR CATEGORIES 41-43: • Submit category 41-43 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead: “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?” 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program. Supporting materials should be placed at the end of the entry. Please limit your supporting materials to those actually sent / used with sponsor: • Printed materials (brochures / programs etc.) • Promotion / marketing / media materials • Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the program / entry well organized? • Is the content professional? Is the message clear? • Is the program / entry designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met? • Would you recommend or support this opportunity if in a position to do so?

Spring 2016

IFEA’s ie: the business of international events

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

ENTRY INFORMATION FOR CATEGORIES 44-45:

(For overall Volunteer Programs at an Event/Festival/ Organization)

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

45) BEST GREEN PROGRAM

(For festivals/events with implemented green/recycling programs at their event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Green Program c. Target audience / attendance / number of participants d. What “Green” initiatives were used at event (i.e. – recycling; alternative methods of transportation; renewable energy etc.) e. How were initiatives promoted to the public? Include marketing materials. f. Education programs pertaining to green program (for public, sponsors, volunteers etc.) g. How was green program enforced / encouraged, tracked, and staffed? h. Who assisted green program (vendors, volunteers etc.) i. Measurable results – how much was recycled; savings / cost of Green program; carbon footprint reduction j. Non-tangible results: education; awareness; involvement etc. k. Duration of program (start to finish) and years program has been part of event l. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) m. Tie-in of program to main event n. Overall revenue/expense budget of program o. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry. 66

IFEA’s ie: the business of international events

Spring 2016

• Submit categories 44 & 45 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead. • “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?” 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. • Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.) • Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants / volunteers / sponsors / students / charities etc. • Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 46) BEST EDUCATIONAL PROGRAM

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

47) BEST CHILDREN’S PROGRAMMING (For festivals/events who have specific programming for Children) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Children’s Program c. Target Audience / main target age group d. Attendance / number of participants e. Activities /entertainment provided f. Local School involvement g. Tie-in of program to main event h. Overall revenue and expense budget of specific program / event i. Description of sponsor / charity / volunteer / school / other group involvement with event / program and benefits to each (if applicable) j. Duration of program (start to finish) and years program has been part of event k. What makes the program unique and creative? l. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

48) BEST COMMUNITY OUTREACH PROGRAM

(Programming done throughout the year to benefit and help include all parts of the community, while enhancing the image and brand of your event/organization throughout the year.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Outreach Program c. Target audience / attendance / number of participants d. Impact program had on the community e. Tie-in of program to main event f. Duration of program (start to finish) and years program has been part of event g. Overall revenue/expense budget of specific program h. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry. Spring 2016

ENTRY INFORMATION FOR CATEGORIES 46-48: • Submit categories 46, 47, 48 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead. • “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?” 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. • Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.) • Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants / volunteers / sponsors / students / charities etc. • Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

IFEA’s ie: the business of international events

FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 49

BEST EVENT / PROGRAM WITHIN AN EVENT TO BENEFIT A CAUSE

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

50) BEST EVENT (WITHIN AN EXISTING FESTIVAL) (Entry to highlight a specific event that is held during the course of a larger festival/event.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Event within Festival c. Target audience and attendance / number of participants d. Overall revenue/expense budget of event e. Tie-in of program to main festival f. Duration of program (start to finish) and years program has been part of event g. Description of sponsor / charity / volunteer / school / other group involvement with event and benefits to each (if applicable) h. What makes the event unique & creative? i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

51) BEST EMERGENCY PREPAREDNESS & RISK MANAGEMENT PLAN FOR AN EVENT

(Entry to focus on the overall risk management / emergency preparedness plan for a specific festival/event.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Risk Management Plan c. Target audience / attendance / number of participants d. Overall revenue and expense budget of specific program / event e. Duration of program (start to finish) and years program has been part of event f. Description of sponsor / charity / volunteer / school / other group involvement with event / program and benefits to each (if applicable) g. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry. ❍ Please submit a detailed documentation of the security plan used at your event

52) BEST FOOD & BEVERAGE PROGRAM

(Entry to focus on the overall food and beverage opportunities available during the course of a specific festival/event.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Food & Beverage Program c. Number and types of vendors d. Site Plan (i.e.: Food Courts, Crowd Flow etc.) e. Cash Management Process f. Fee Structures g. Alcohol Beverage Training/Control h. Vendor Application Process i. Festival/Event Controlled Products & Services (i.e.: Festival-only controlled product sales, Vendor required product use, etc.) j. Promotional activities to drive business k. Power/Water Access l. Waste Disposal 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 49-52: • Submit categories 49, 50, 51, 52 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead. ❍ “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?” 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. ❍ Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.) ❍ Promotional / marketing / media materials ❍ Merchandise materials (photographs accepted) ❍ Information provided to participants / volunteers / sponsors / students / charities etc. ❍ Supporting photographs ❍ Measurable results: tangible & intangible 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 53)

BEST NEW EVENT

(For festival or event created from scratch within the past year.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of New Event c. Target audience and attendance / number of participants d. Overall revenue/ expense budget of event e. Duration of program (start to finish) f. Description of sponsor / charity / volunteer / school / other group involvement with event and benefits to each (if applicable) g. What makes the event unique & creative? h. Overall effectiveness / success of event 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

54)

BEST NEW PROMOTION ACTIVITY

(Entry should focus on a specific promotion done by festival/event/vendor/supplier to promote a product, service, event, company, entertainment etc.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event/organization b. Description and purpose / objective of Promotion c. Description of what was being promoted (merchandise, event, company, entertainment; etc.) d. What makes this promotion different from any other promotions? e. Target audience for promotion f. Attendance / number of participants (if applicable) g. Tie-in of promotion to main event/organization h. Overall revenue and expense budget of specific promotion i. Duration of promotion (start to finish) j. Description of sponsor / charity / volunteer / school / other group involvement with event/ organization and promotion and benefits to each (if applicable) k. Overall effectiveness / success of promotion 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

55)

BEST NEW ATTENDEE SERVICE

56)

BEST MONEY-MAKING IDEA

(Any product or service designed with the intent of enhancing the attendee experience at a festival or event.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Description of new product or service b. Goals & objectives of product or service c. Application of product or service at an event d. Overall effectiveness of product or services e. Target market for product or service f. Measurable results: tangible & intangible 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

(Entry should focus on a specific idea implemented at a festival/event that generated revenue.) 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description of money-making idea c. Target audience (if applicable) d. Attendance / number of participants (if applicable) e. Mediums used to promote idea (if applicable) f. Tie-in of promotion to main event/organization g. Overall revenue and expense budget of specific idea h. Overall effectiveness / success of idea 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 53-56: • Submit categories 53, 54, 55, 56 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For each entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question (10 points) • What challenges/obstacles did you foresee/encounter in creating the program/activity/idea, and how did you handle them? 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. • Printed materials (brochures, handbooks, signage, etc.) • Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants • Supporting photographs • Measurable results: tangible & intangible 3. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

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

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

58) BEST VENDOR / SUPPLIER

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

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Description of vendor / supplier b. How the vendor / supplier stands out over all other vendor / suppliers c. Quantity and quality of service and support to event by Vendor / Supplier d. Length of relationship between vendor and event e. Tangible benefits of relationship to both event and vendor. ENTRY INFORMATION FOR CATEGORY 58: • Submit category 58 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) 70

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For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the program is a new program, please answer the following question instead: “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?” 3. Supporting Materials: (10 points) Please include a sample selection of actual merchandise items available. • Also include photographs of all merchandise items available in your merchandise program. • Supporting materials should be placed at the end of the entry. 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? • Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met? For entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left. 2. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry well organized? • Is the content professional? • Is the message clear? • What is the overall impression? • Have all requirements been met?

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

(For festivals/events/organizations to demonstrate the effectiveness and use of their Press/Media Kit.) • Provide information for questions listed below in addition to providing your actual 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 (For Festivals/Events/Organizations who generated publicity through a media stunt to promote their event/cause etc.)

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

61) BEST MEDIA RELATIONS CAMPAIGN (Entry should focus on the entire media relations campaign for a specific festival or event.)

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

ENTRY INFORMATION FOR CATEGORIES 59-61: • Submit categories 59, 60, 61 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) • What did you do to update / change this promotion from the year before? Were your updates / changes successful? Please provide measurable results / examples. • If the promotion is a new promotion, please answer the following question instead. • “What challenges / obstacles did you foresee / encounter in creating the promotion, and how did you handle them?” 3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry. • Printed materials (press releases, news clippings, etc.) • Promotional materials • Video / audio documentation (Please limit to 1 example – provide written explanation of further examples) • Supporting photographs 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / campaign well organized? • Is the content professional? • Is the message clear? • Is the entry / campaign designed and laid out well? • Is the campaign creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

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

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Associate Degree c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

63) BEST EVENT MANAGEMENT BACHELOR DEGREE

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Bachelor Degree c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

64) BEST EVENT MANAGEMENT CERTIFICATION PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Certification Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 62-64: • Submit categories 62, 63, 64 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question (10 points) • What did you do to update/change the Degree from the year before? Were your updates/changes successful? Please providw measurable results/examples. • If the Degree is a new program, please answer the following questions instead: • What challenges/obstacles did you foresee/encounter in creating the program and how did you handle them? 3. Supporting Materials: (10 points)

Please also include any and all of the following Supporting Materials. Supporting materials should be placed at the end of the entry. • Student recruiting materials • Student application materials • Marketing materials for program • Complete outline and syllabus of course(s) • Reading requirements list for students • Sample testing Materials 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / program well organized? • Is the content professional? • Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

CATEGORIES EDUCATIONAL INSTITUTIONS OFFERING EVENT MANAGEMENT PROGRAMS 65) BEST ONLINE EVENT MANAGEMENT TRAINING PROGRAM 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Online Event Management Training Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

66) BEST FESTIVAL & EVENT MANAGEMENT MASTERS PROGRAM 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Festival & Event Management Masters Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

67) BEST FESTIVAL & EVENT MANAGEMENT PHD PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Festival & Event Management PhD Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?) 2. Supporting Question - Anwser question listed to the right, here. 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 65-67: • Submit categories 65, 66, 67 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.) • Please submit your entry in the order listed. • In addition to the required printed entry, please also provide a pdf document of your entire entry (as one (1) document) on a CD or Thumbdrive. Attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or Thumbdrive.) For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question (10 points) • What did you do to update/change the Degree from the year before? Were your updates/changes successful? Please providw measurable results/examples. • If the Degree is a new program, please answer the following questions instead: • What challenges/obstacles did you foresee/encounter in creating the program and how did you handle them? 3. Supporting Materials: (10 points)

Please also include any and all of the following Supporting Materials. • Supporting materials should be placed at the end of the entry. • Student recruiting materials • Student application materials • Marketing materials for program • Complete outline and syllabus of course(s) • Reading requirements list for students • Sample testing Materials 4. Judging Criteria: (30 points) • Is the entry / program well organized? • Is the content professional? • Is the message clear? • Is the entry / program designed and laid out well? • Is the program creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

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

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

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Describe the promotion that took place to celebrate your IFEA/Haas & Wilkerson Pinnacle Award win.

For entry, please provide detailed information to the following:

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

2. Supporting Questions: Please answer the following supporting questions, using no more than one (1) page for each question: a. What has winning an IFEA / Haas & Wilkerson Pinnacle Award meant to your event? b. How have you used winning an award(s) to your advantage? c. How has winning an award(s) enhanced your presence within your community? d. How has winning an award(s) increased leverage / funding / sponsorship for your event? 3. Supporting Materials: Please also include any and all of the following supporting materials – limiting it to no more than 5 examples of each: • Promotion materials used to promote award • Media clippings from promotion • Examples of IFEA / Haas & Wilkerson Pinnacle Winner logo placement

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1. Overview Information (50 points) Please provide the required information listed under the specific category to the left. 2. Supporting Question: (10 points) Please answer questions listed under specific category to the left. 3. Supporting Materials: (10 points) Please provide materials listed under the specific category to the left. Supporting materials should be placed at the end of the entry. 4. Judging Criteria: (30 points) No information required. Your entry will also be judged based on the below criteria. • Is the entry / promotion well organized? • Is the content professional? • Is the message clear? • Is the entry / promotion designed and laid out well? • Is the promotion creative and / or unique? • What is the overall impression? • Have all supporting materials and measurable results been provided? • Have all requirements been met?

ENTRY FORM REQUIREMENTS

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

2016

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, event, sponsor or program name clearly and correctly - as this is how it will appear on any award if won. NEW - Please email a high resolution copy of either your organization or event logo (Only one logo will be used.) to nia@ifea.com - subject “2016 Pinnacle Entry Logo” & Your Event / Logo Name.

Sections 1, 2 and 3 must be completed twice for each entry. One copy attached to each individual entry, and one copy attached to payment form. 1. ENTRANT INFORMATION (Required for each entry) (Tip: Complete Section 1. Then make copies to complete form for each entry.) How you list your organization / event name will be how it is listed on any award won. PLEASE PRINT CLEARLY. Organization: ________________________________________________________________________ Membership #: ____________________________ Name of Event (if different from organization): ________________________________________________________________________________________ Name of Program and/or Program Sponsor for specific category (applies to Categories 28-68): ______________________________________________________ Address (Do not list P.O. Box): ____________________________________________________________________________________________________ City: ____________________________________ State: _____ Zip Code: _____________________ Country: __________________________________ Contact Person (This person will receive all email notifications regarding your Pinnacle entries.): ________________________________________________________________ Phone:______________________________________________ E-mail: ____________________________________________________________________ Website: _______________________________________________________________________________________________________________________ 2. BUDGET INFORMATION (Required for each entry) Organization’s Event Expense Budget: (USD, include all cash outflows). Each entry category is divided into the budget categories below. Gold, Silver and Bronze Awards will be given in each budget category unless the number of entries warrants budgets to be combined, or as determined by the judges. under $250,000

$250,000 - $750,000

$750,000 - $1.5 million

over $1.5 million

3. ENTRY INFORMATION (Required for each entry) Category Name (required): _____________________________________________________________ Category Number (required): ________________ Entry Description: _______________________________________________________________________________________________________________ (Provide brief identifying description for each entry - helps to identify if you enter 2 or more entries for the same category. Also list links for categories 7-12 here.) Complete section 4 ONCE. Attach payment for all entries combined.

4. PAYMENT INFORMATION

Total Categories Entered: List which categories you are entering and how many of each. This is so we can account for all of your entries when they arrive. (e.g. 1, 2, 2, 3, 5, 7…): ___________________________________________________________________________________________________________ Entries received with payment by 5:00 p.m. June 20, 2016 (MST) will receive the Member early bird rate of $30 per entry or $100 per Grand Pinnacle Entry; or the Non-Member early bird rate of $60 per entry or $150 per Grand Pinnacle entry, depending on IFEA Membership Status. Entries received between June 21, 2016 and July 18, 2016 will receive the Member final entry rate of $35 per entry or $100 per Grand Pinnacle entry; or the Non-Member final entry rate of $75 per entry or $200 per Grand Pinnacle entry, depending on IFEA Membership Status. Questions: Contact nia@ifea.com. Early Bird Member Rates (Before June 20, 2016)

Final Entry Member Rates (June 21 - July 18, 2016)

Early Bird Non-Member Rates (June 20, 2016)

Final Entry Non-Member Rates (June 21 - July 18, 2016)

Grand Pinnacle:

$75 x _____= $_______

$100 x _____= $_______

$150 x _____= $_______

$200 x _____= $_______

Pinnacle Entries: (Categories 2-67)

$30 x _____= $_______

$35 x _____= $_______

$60 x ______= $_______

$75 x ______= $ _______

Category #68: $ 0 x _____ = $_______ (Just for Fun Category) TOTAL NUMBER OF ENTRIES: __________________________ TOTAL AMOUNT ENCLOSED: $ _____________________________________ Check (Make checks payable to IFEA)

Visa

MasterCard

American Express

Print Cardholder Name: __________________________________________________________________________________________________________ Signature: ______________________________________________________________________________________________________________________ Credit Card Number:_____________________________________________________________________________________________________________ Expiration Date: _____________________________________________ CVN Code: ______________________(MC / VISA-3 digit code back) (AMX-4 digit code front) DID YOU REMEMBER TO Include your payment for total entries along with 1 overall entry form listing each category number entered Include 2 individual entry forms for each item – one with item, one with payment, do not list payment details on these forms Include each entry (as requested) on one disk or Thumbdrive attached to payment form. Email organization or 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

Time-Slot Reservation Tickets Dynamic Reserved Seating Interface Accurate Real-Time Scanning

Encrypted Barcode Security In-Depth Reporting Immediate Access to Revenue

IFEA WORLD FESTIVAL & EVENT CITY

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

ABOUT THE

IFEA WORLD FESTIVAL & EVENT CITY AWARD

The IFEA World Festival & Event City Award © was designed and created as a way for the global festivals and events industry to openly encourage, support, learn from and recognize positive local environments for festivals and events worldwide. If you are considering applying for this prestigious award, you already understand the important role that festivals and events play in your community by: • Adding to the quality of life for local residents; • Driving tourism; • Showcasing a positive community brand and image to the media, business community, and visitors; • Creating economic impact that translates into jobs, tax revenues and enhanced infrastructure improvements; • Providing enhanced exposure opportunities for the arts, not-for-profit causes and other community programs and venues; • Promoting volunteerism and bonding the many elements of the community together; • Encouraging community investment, participation, creativity and vision; and • Building irreplaceable ‘community capital’ for the future. To achieve and maximize these important returns for the markets that they serve, we must clearly understand their direct correlation to the partnerships with and support from the local community, at all levels, that is critical to the success and sustainability of existing festivals and events, as well as the ability to attract and encourage new events. Through this special award the IFEA is pleased to recognize those cities and markets who have worked, through concerted efforts, to provide an environment conducive to successful festivals and events. For each year’s selected cities, the IFEA World Festival & Event City Award © provides: • A strong platform from which to recognize the success of current and on-going efforts by every component of your community; • A clear positioning statement to encourage continued infrastructure, policy and process enhancement and expansion; and • A powerful marketing statement for use in recruiting and encouraging new festivals, events and businesses. We look forward to working with you, your city and community partners to recognize the quality efforts and support that you have successfully developed over the years and should be rightfully proud of. Thank you for your continued support of, and partnership with, the festivals and events industry. Best of Luck with your entry!

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RECIPIENT CITIES INCLUDE:

IFEA World Festival & Event Award recipients cities come from all over the globe including such cities as: Sydney, Australia; Dubai, United Arab Emirates; SĂŁo Paulo, Brazil; Rotterdam, The Netherlands; Jinju City, Gyeonsangnam-do, South Korea; Philadelphia, Pennsylvania, USA; Ottawa - Ontario, Canada; Boston Massachusetts, USA; Maribor, Slovenia; Taupo - New Zealand; Ballito-KwaDukuza, KwaZulu-Natal, South Africa and much, much more. A complete list of winning cities and details about each can be found at www.ifea.com.

Spring 2016

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

ENTRY INFORMATION Quick Reference Guide DEADLINES

• Entry Deadline: 5:00 p.m. (Mountain Time Zone) – Monday, July 18th, 2016 • Entry must include completed entry, additional requested details and application form with payment • Due to time constraints in judging, late entries cannot be accepted.

FEES

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

ELIGIBILITY

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

JUDGING

Judging of the IFEA World Festival & Event City entries is done by an international panel of respected event professionals, who have been pleased to discover that there are many amazing programs happening around the world that will help us all to raise the bar for our own communities, showing us what is possible – at every level – when vision and leadership combine. The IFEA World Festival & Event City Award © are presented on an individual basis to exemplary cities around the world that we hope others will emulate. The awards are not designed as a competition of one city against another, but rather to recognize those individual cities that have ‘raised the bar’ for everyone, taking into account the cultural, economic and geographic challenges that they have met, mastered and often changed along the way. For that reason, we may present multiple awards each year, while some will be encour80

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aged to strengthen or make adjustments to selected components of their entry criteria for reconsideration in future years.

SCORING SYSTEM

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

SELECTION AND NOTIFICATION

• Award Recipients will be notified via email by August 22st, 2016. Notification will go to the primary contact listed on the entry application. • The 2016 IFEA World Festival & Event City Award © will be presented during the IFEA’s 61st Annual Convention & Expo, Date and Location TBD. Each recipient city will be highlighted in a brief video presentation at the award ceremony and on-site throughout the convention. • If you are unable to attend the IFEA’s 61st Annual Convention & Expo to accept your award, please arrange for a representative to accept on your behalf. • IIf you are not present at the awards presentation to accept your award, it will be mailed to you 3-4 weeks after the convention concludes. Please provide a UPS or FedEx account number to charge shipping fees to, or a credit card number to charge for shipping fees.

MAXIMIZING YOUR AWARD

Being selected as an IFEA World Festival & Event City is only the beginning of the benefits to be gained from this special honor. The IFEA will help each recipient with ideas on how to maximize and leverage your award, with specific examples from previous recipients. • Each winning recipient of the IFEA World Festival & Event City Award © will receive an engraved award suitable for indoor display and a personal letter of congratulations. • Duplicate IFEA World Festival & Event City awards, flags (for display or flying) and other recognition items are available for purchase by award recipients wishing to share their honor with the many partners who helped them to win. • Winning recipients will be provided with the rights to use the 2016 IFEA World Festival & Event City Award© Winner logo

on their websites, press releases and other appropriate City letterhead, brochures, marketing materials, etc. • The IFEA will announce all IFEA World Festival & Event City Award© recipients in an international press release to the world’s leading media sources, including all local market media contacts provided to the IFEA by selected applicants. • IFEA World Festival & Event City Award© recipients will be featured in a special on-line tribute section at www.ifea.com in perpetuity and in a special section of ie: the business of international events, the IFEA’s industry-leading magazine. • Each winning recipient will receive a oneyear complimentary IFEA membership.

RELEASE & USAGE

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

ENTRY REQUIREMENTS

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

IMPORTANT DETAILS

• Please submit your main entry (as listed in components 6-7 under Entry Requirements above), as one (1) singular entry piece/document/ PowerPoint/Pdf, etc. Components 1-5 listed under Entry Requirements may be submitted as separate pieces from the main entry, but must be submitted at the same time. • All entry information should be provided in English and typed using 10-point Arial font. • Please submit your overall entry via Email (preferred method of submitting entry.) Please create entry in a Word, PowerPoint, PDF document, tif, jpg or other standard format. If entry must be mailed, please submit your overall entry on a CD, or USB flash drive to the IFEA World Headquarters in the format listed above. • To submit Video portion of entry, please email video file as an MP4, WMF, MOV or provide a link to an online video location such as YouTube. If mailing video on a

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disk or USB Drive, please submit video as an MPF, WMF, MOV. (DVD’s should be encoded for Region 1 or Region 0 DVD capabilities.) • Entries over one Meg must be provided as a link to a fixed site with no expiration timeframe.

TIPS & POINTERS

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

SEND ENTRIES TO

Please email completed entries, application form and payment to: nia@ifea.com. Entry, payment and application form may be mailed if necessary. Be sure to provide entry on a disk or a USB Flash Drive in a word, PowerPoint, PDF or other standard format. Please mail to: IFEA World Festival & Event City Award 2603 W. Eastover Terrace Boise, ID 83706 U.S.A.

QUESTIONS?

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

IFEA’s ie: the business of international events

IFEA World Festival & Event City Award

ENTRY REQUIREMENTS

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

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

Section 2. Community Festivals and Events Goal: The information in this section should provide us with an understanding of the diversity and success of current festivals and events that serve your city residents and visitors throughout the year. • Please provide us with a good overview of the leading festivals and events currently operating in your market. A full-year calendar of events is very helpful as we consider this area. Please provide the following for the ‘Top 10’ festivals or events in your market: a. Festival or Event Name b. Top Executive Contact Information c. Number of Years Festival or Event has been Produced d. Event Dates (Minimally the month held, with days if clearly defined – For example: the last weekend in June. If the event is a series, list the starting and ending dates – For example: Every Wednesday, June through August.) e. Primary Target Audience (For example: Families; Young Adults; Seniors; Children; Specific Cultural Heritage Groups; All Community Segments; Out-of-Market Visitors, etc.) f. Recurrence Cycle (Annually, Every 5 Years, etc.) g. Estimated Combined Aggregate Attendance

Section 3. City/Governmental Support of Festivals and Events Goal: The information in this section should help us to understand the strength and depth of support by the applicant City and other area governmental bodies (County, State, taxing districts, etc.) and demonstrate a clear awareness of event support needs by government agencies and officials. • Please define or describe each of the following elements (a-i) below, as completely and accurately as possible. • Where available and appropriate, please provide examples and copies. • If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Defined and Accessible Public Objectives and Support Statements for Festivals and Events by the City and Other Local Government Agencies b. Direct Funding Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies c. In-Kind Services Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies d. Defined Role of the City in Festival and Event Approval e. City-Provided Festival and Event Process Coordination and Assistance Systems (For example: Existence of a City Events Department; ‘One-Stop Shopping’ for Permitting and Municipal Service Needs; Shared Resource Programs for Volunteer Recruitment/Management, Non-Proprietary Equipment Usage/Maintenance, Insurance/Music Licensing Provisions, etc.) f. Participation in Official Capacity by City Department Representatives on Boards and Planning Committees of Local Festivals and Events g. Local Laws, Ordinances, Regulations, Permits and Policies Impacting and Supportive of Festivals and Events (For example: noise ordinances, traffic regulations, curfews, parking fees, fireworks regulations, ambush marketing control, alcohol service requirements, taxes, food safety, insurance requirements, etc.) h. City Provided Festival and Event Training Programs (For example: Marketing, Planning, Budgeting, Risk Management, Alcohol Service, City Department Introductions, Professional Certification, etc.) i. Direct Industry Involvement / Memberships by Any of the Above

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IFEA’s ie: the business of international events

Section 4. Non-Governmental Community Support of Festivals and Events Goal: The information in this section should help us to understand the commitment to festivals and events and direct support provided by community individuals and non-governmental organizations. Without this type of support most festivals and events could not achieve the level of success that these important partnerships help to build. • Please define or describe how each of the following elements/organizations (a-l) below (if applicable) lends their support to ensure the success and outreach of local festivals and events completely and accurately as possible. • Answers should be provided as an overview reflective of the entire community versus an individual event/organization, with enough detail to provide a clear picture of support. • If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Volunteer Involvement b. Sponsorship Support (include in your answer a list of the ten (10) most prominent corporate sponsors in your market) c. Media Support d. Chamber of Commerce / Convention & Visitors Bureau Support (Promotion and marketing activities, familiarization tours, travel writer access, material creation, information distribution, grant funding, visitor hosting, etc.) e. Downtown Associations (Support by Downtown merchants and businesses) f. Organizations to Assist Individuals with Disabilities g. Local Event Cooperatives h. Sports Commissions i. Educational Institution Support j. Special Incentives/Discounts Provided to Festivals and Events by Local Venues k. Access to Industry Suppliers in the Local Market (For example: banners and decorations; generators; portable toilets; merchandise; generators; stage, lights & sound; golf carts; security; chairs; barricades; ATM’s; communication services; etc.) l. Direct Industry Involvement / Memberships by Any of the Above

Section 5. Leveraging ‘Community Capital’ Created by Festivals & Events Goal: The information in this section should help us to understand how the City and its non-governmental partners maximize the ‘community capital’ created by festivals and events in your market. • Please define or describe how your City uses the branding and marketing images/ opportunities provided by your local festivals and events to leverage return in other areas. • These may include, the items below, among others. • If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Community Branding (How are local festivals and events used to promote and build upon the positive image of the city?) b. Promoting Tourism (How are local festivals and events used to promote tourism visits?) c. Convention Marketing (How are local festivals and events used to recruit conventions to the city during the times that festival or event activities may serve as an extra incentive for choosing a destination?) d. Corporate Recruiting Efforts (How are local festivals and events used by Economic Development efforts to recruit new businesses to consider choosing your market for their operations?)

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

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

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

2015 IFEA World Festival & Event City Award Recipients 2011 IFEA World Festival & Event City Award Recipients • • • • • • • •

Coffs Harbour, New South Wales, Australia Dubai, United Arab Emirates Jinju City, Gyeonsangnam-do, South Korea Louisville, Kentucky, United States Newcastle, New South Wales, Australia Philadelphia, Pennsylvania, United States Rotterdam, The Netherlands Sydney, New South Wales, Australia

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

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

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

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

IFEA’s ie: the business of international events

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

2010 IFEA World Festival & Event City Award Recipients

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

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

• • • • • • • • • •

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• • • • • • • • • • • •

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

IFEA World Festival & Event City Award© APPLICATION Entry Deadline: 5:00 p.m. (MST) Monday, July 28th, 2016 Submit Entries, Entry Form and Payment to: Email: nia@ifea.com (preferred method of receiving entry.) If shipping entry, send to: IFEA World Festival & Event City Award© • 2603 Eastover Terrace, Boise, ID 83706 USA Phone: +1-208-433-0950 ext: 3 – nia@ifea.com

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

❍ Africa

❍ Asia

❍ Australia / New Zealand

❍ Europe

❍ Latin America

❍ The Middle East (MENASA)

❍ North America

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

❍ Under 1 million ❍ Over 1 million

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

RELEASE & USAGE

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

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

PAYMENT TOTAL

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

PAYMENT INFORMATION Please select your method of payment:

❍ VISA

❍ MasterCard

❍ American Express ❍ Check (Made payable to the IFEA) ❍ Wire Transfers: (Contact Leslie McFarlane at leslie@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?

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never my favorite sort order. To take the recommendation to the next level by actually helping you order food, navigate to a restaurant and scroll down to Review Highlights. The bolded words will be the ones that are mentioned most in reviews. Often, these will be the most popular dishes. I use Yelp for other things too, but restaurant info is by far the most helpful for me. Once you’re at your destination, I encourage you to think about using Uber for quick and inexpensive rides. It isn’t available everywhere, but I’ve had great experiences with rides all over the country. Uber’s technology alone is far superior to taxis. You can see exactly where cars are when you’re looking for a ride. Uber estimates your fare and shows you the route. You enter your credit card when you sign up, and it automatically charges you when your ride is complete. But of course the best part of Uber is the price. It is consistently much less expensive than taxies. And as far as driver quality, you rate each driver when your ride is complete. Drivers must maintain a 4.5 rating, so they are very motivated to give you a high-quality, safe ride. So there you have it. These are the tools I use the most often in travel. But I do love a bargain. So I’d be remiss if I didn’t mention a few ways to get great bargains when you travel. I love Travelzoo for their Tuesday deals. CheapCaribbean has great deals if you happen to be going to the 88

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Caribbean. Southwest consistently offers great add-on hotel and car deals (so much cheaper than if you book them separately). If you’re ok not staying in a hotel, AirBNB is a great resource for staying in places that range from whole houses to rooms with shared baths. And HomeAway is a helpful resource for renting homes worldwide. Or if you’re feeling very gutsy, try CouchSurfing.com. You can stay on peoples’ couches all over the world. And the price is right. It’s free. I can’t personally attest to this service, but I have a good friend who swears by it. I’ll admit, he’s a bit gutsier than I am. Kendra Wright started her career managing non-profit fundraising events. Then in an “about face,” she took a job managing global Internet strategies at a Fortune 1000 company in 1995, just as the Internet came to being. She left that company in 1998 to found Wright Strategies, working with clients like KEEN Footwear, Nike, Jeep, Chrysler, Intel and Panasonic. Then in 2009, Kendra launched Saffire to do integrated online marketing and ticketing for hundreds of events, venues and destinations. It’s been a wild ride! Kendra can be reached at kendra@saffire.com, and more information about Saffire can be found at www.saffire.com.

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all times. If you are being questioned by the media and you don’t know the answer to something it is OK to say “I don’t know”. Offer to get the information as soon as you can and then do so. No matter how big or small the crisis may be, your audiences want two things. They want to know “How does this affect me?” And they want reassurance. Keep this in mind as you create your messages. Let the audiences know how they will be affected. And give them reassurance, if you can. If you remember one thing in a crisis (with apologies to my middle school English teacher) don’t do nothing. Doing nothing is always the wrong choice. It appears that you are hiding from the situation, or worse yet, that you are unprepared. If you say or do nothing, the void will be filled by your opponents or detractors or both. Their message will not be positive which will require more work on your part once you decide to get your message out. Once the crisis has passed, take a deep breath. You made it through. But now is the time to take a good honest look at your crisis communications plan. Did it work well? Were there any problems? What improvements should you make for next time? So there you have it. Two columns which I hope will help you in a time of crisis. May you never need to use any of this information, but may you be well prepared, just in case. Scott Fraser is a veteran communications professional with more than 30 years’ experience. As principal of Fraser Communications Group, he provides public relations, media relations and crisis communications advice for his clients who range from small non-profits, to international corporations. He has been hired to protect the reputations of companies in crisis, and gain positive public exposure for clients ranging from an emerging high tech company to established organizations in industry and healthcare. Sought after as a public speaker, Fraser also is an adjunct professor at Salve Regina University in Newport, RI, teaching courses in Crisis Communications and Public Relations. You can reach Scott at: sfraser@frasercomm.com, (401) 647-3444 and follow him @frasercomm on Twitter.

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

MARKETPLACE BANNERS/FLAGS dfest® - DIXIE FLAG EVENT SERVICES TEAM - The ONE source for creative design, custom decorations, street banners, mascots, video marketing & installation for events. All services tailored to fit your unique needs. Contact: Pete Van de Putte Jr., CFEE, President; Address: 1930 N. Pan Am Expressway, San Antonio, TX 78208; Phone: (800) 356-4085; Fax: 210-227-5920; Email: sales@dixieflag.com; Website: www.dixieflag.com. FIREWORKS LANTIS FIREWORKS AND LASERS - Provides display fireworks and laser specialists, computerized, choreographed fireworks, indoor/ outdoor programs, special effects. Fully licensed and insured in Nevada, Arizona, Utah, Wyoming, Idaho, Colorado, Texas and Alaska. Contact: PO Box 491, Draper, UT 84020-0491; Phone: 800-443-3040; Email: lantispyro@yahoo.com; Website: http://www.lantisfireworks.com/v3/. FLOATS/SCULPTURE/PROPS KERN STUDIOS AT MARDI GRAS WORLD - Since 1932, Kern Studios has been creating New Orleans Mardi Gras parades from concept through completion. Today we are proud to be the world’s leading makers of floats, sculpture and props. Contact: Barry Kern; Address: 1380 Port of New Orleans Place, New Orleans, LA 70130; Phone: 800-362-8213; Fax 504-366-0245; Email: barry@kernstudios.com; Website: www.kernstudios.com/ INFLATABLES DYNAMIC DISPLAYS, FABULOUS INFLATABLES - Designs, manufacturers, for rent or purchase – costumes, props, floats, helium balloons, event entry ways and décor. Offers complete and flexible service packages for small towns and large international events. 50+ years of parade/event experience. Contact: Steve Thomson; Address: 6470 Wyoming St. Ste #2024, Dearborn MI 48126; Phone: 800-411-6200 Fax 519-258-0767; Email: steve@fabulousinflatables.com; Website: www.fabulousinflatables.com INSURANCE HAAS & WILKERSON INSURANCE – Over 50 years experience in the entertainment industry, providing insurance programs designed to meet the specific needs of your event. Clients throughout the US include festivals, parades, carnivals and more. Contact: Carol Porter, CPCU, Broker; Address: 4300 Shawnee Mission Parkway, Fairway, KS 66205; Phone: 800-821-7703; Fax: 913-676-9293; Email: carol.porter@hwins.com; Website: www.hwins.com. KALIFF INSURANCE - Founded in 1917, Kaliff Insurance provides specialty insurance for festivals, fairs, parades, rodeos, carnivals and more. We insure the serious side of fun! Contact: Bruce Smiley-Kaliff; Address: 1250 NE Loop 410 Ste 920, San Antonio TX 78209; Phone: 210-829-7634 Fax: 210-829-7636; Email: bas@kaliff.com; Website: www.kaliff.com. K & K INSURANCE – For 60 years, K & K insurance has been recognized as the leading provider of SPORTS-LEISURE & ENTERTAINMENT insurance products. Contact: Mark Herberger; Address: 1712 Magnavox Way, Fort Wayne, IN 46804; Call: 1-866-554-4636; Email: mark.herberger@kandkinsurance.com. Website: KandKinsurance.com.

IFEA’s ie: the business of international events

Spring 2016

INTERNET POINTSMAP® - PointsMap® has proven to be an effective and useful software for Festivals and Events. Create custom points at their exact location on your PointsMap with photos, descriptions, website links, multi-media, PDF’s and even “inside maps”. Your visitors can “PLAN” before the festival using their desktop computer, and then “NAVIGATE” the festival using their Smartphone. Visit www. PointsMap.com/SLAF and http://www.PointsMap.com/WichitaRiverFest/ to see how PointsMap is being used. It’s easy to use and extremely affordable. Contact: Jerry Waddell Address: 1100 Riverfront Pkwy, Chattanooga, TN 37402-2171; Phone: 423-894-2677; Email: jerryw@videoideas.com; Website: www.pointsmap.com. QUICKEDGE™ (EDGEWORKS GROUP LLC) - Since 1994 our mission has been to drive more business through your website. We plan, design, build, and market successful websites by integrating customized online strategies including search engine optimization, affiliate marketing, email marketing, and more. If this kind of experience and approach is what you’re looking for, we’d love to hear from you. Address: 26361 Crown Valley Parkway, Suite 203, Mission Viejo CA 92691; Phone: 866-888-7313 x701; Email: info@edgeworksgroup.com; Website: www.edgeworksgroup.com. SAFFIRE EVENTS - Saffire is award-winning software providing events & venues with beautifully designed, online event destinations, including integrated content management, mobile, social, ecommerce, email and more. Contact: Kendra Wright; Address: 248 Addie Roy Rd, Ste B-106, Austin TX 78746-4133; Phone: 512-430-1123; Email: info@saffireevents.com; Website: www.saffireevents.com. PINS CUSTOM PIN & DESIGN - Supplying festivals & events with lapel pins and other novelty items since 1980. Highest Quality-Lowest Prices! Many well-known clients. Contact: John Stevenson; Address: 245 Ivanhoe Street, Denver CO 80220; Phone: 877-307-7467 Fax 720-524-7376; Email: custompin@aol.com; Website: www.custompin.com. PUBLICATIONS TRIPINFO.COM - Their widely recognized database drives their reference media, constantly updated by travel destinations who submit their information updates online. Publishes website, print atlas & handbook, newsletters, and road maps. Address: 3103 Medlock Bridge Rd, Norcross, GA 30071-5401; Phone: 770-825-0220; Email: mark@tripinfo.com; Website: www.tripinfo.com. SPONSORSHIP IEG - The leading provider of consulting, valuation, research, published information and training in the global sponsorship industry. Address: 640 N LaSalle Ste 450, Chicago, IL 60654-3186; Phone: 312-944-1727; Website: http://www.sponsorship.com. TICKETING INTERACTIVE TICKETING - is an industry leader in online and onsite ticketing, providing a comprehensive ticketing solution with dynamic online sales tools, innovative mobile scanning options and secure onsite point of sale. Contact: Paul Lauterjung, Sales Manager; Address: 93 S Jackson St #20360, Seattle, WA 98104; Phone: 877-253-5676; Email: paul.lauterjung@interactiveticketing. com; Website: http://www.interactiveticketing.com/online-sales

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over the years that at certain times it can be very helpful to use elements of the standard radio language. We’ve used it when relaying registration plate numbers, names of found children, etc. We don’t all need to be schooled into army level on these but they definitely do come in handy at times. No denying it. Top Tips We’ve included a number of top tips in the Infographic too. These all came about from our own personal experience and that of people in the industry all around the world. We always look to crowd-source the content for these to ensure it’s not just the experience of one group of people or from one country. Some of the top tips we’ve included: • Be aware of any code words being used on the event. There are words we don’t say across an open radio channel. There are code words we use instead. For instance, words like ‘bomb’, ‘threat’, ‘leak’ etc. are generally avoided. With respect to a fire being discovered we have a coded sentence that would be put out on the radios as well as across the public address system. • Make sure you’re on the channel you should be on. Events often use multiple channels in order to effectively manage proceedings. There may be a channel dedicated to Safety & Security, another for Production, another for Technical, etc. Utilising multiple channels can be great but it’s also important not to use too many unnecessarily. • Not everyone needs a radio. I’ve rarely worked an event where everybody needed a radio. The more people with radios, the more chatter you’ll have to listen to. Ensure the right people have them in order for things to work well but don’t feel that everyone needs to have one.

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There are more top tips in the Infographic and I’m sure we can all add even more to the list. The Bottom Line Radios are a key total in the smooth and safe running of events of all shapes and sizes. We need to know how and when to use them properly. In the wrong, inexperienced hands they can be counter-productive, however. It’s important that people get to use radios in a training or non-event environment to be comfortable with them. You can also distribute the Infographic, which is what has happened a lot with this one in particular. Mark Breen is Co-Founder & Senior Partner of Cuckoo Events based in Dublin, Ireland. He is an award- winning event Safety Officer and one of the most experienced and qualified event safety practitioners in Ireland. He has worked at the London 2012 Olympics as well as on some of Ireland’s largest outdoor events. He writes and speaks regularly on all things event-related, particularly event safety. He is a Graduate Member of the Marketing Institute of Ireland and holds a Postgraduate Diploma in PR & Events. He has specialist qualifications in Spectator Safety Management as well as Crowd Science. He is also soon to begin an MSc in Crowd Safety & Risk Analysis. Mark and the Team at Cuckoo are passionate about helping people run safer events and devote a lot of time to doing so. Mark is very active on Twitter @mark_breen and @CuckooEvents. The multiple award-winning Cuckoo Events website can be found at cuckoo.ie

reputation, they can grow your network and help you get connections that may lead to employment opportunities. • Connect with Influencers: Go beyond your small circle of friends, family, and coworkers to reach out to those you admire in your industry. Social media offers a great opportunity for getting to know key people, learning from them, and taking part in discussions with them. Plus, your connection with influencers will make your reputation grow by association. • Show Your Knowledge: Employers want to see that you know your stuff, so be sure to let them know that's the case. Show off your knowledge of the industry with links and thoughtful contributions to conversations that show you understand what's going on. Stay tuned for Part Two of this article to be featured in the April 2016 issue of “ie” Magazine, where you will learn about Developing Your Online Presence; Networking Online for Reputation Management; Being an Expert; Online Reputation Tools and much more! Jessica Merritt is the Editor at Reputation Management. Reputation Management is growing more and more each day as user generated content continues to dominate the Internet. Ensuring that your online reputation is protected is essential whether trying to get a job, or even go on a date. The mission of Reputation Management is to educate both individuals as well as corporations as to the best methods to protect and enhance their reputation online. Please view our featured guides as well as the articles as to the intricacies of reputation management, and how you can use them to your advantage. Jessica can be reached at jessica@ reputationmanagement.com For more information, go to: https:// www.reputationmanagement.com/ For a full guide to managing your online reputation, visit our Ultimate Guide to Online Reputation Management. In addition to resources for building a positive reputation as a job seeker, this guide includes tips for repairing, improving, and monitoring your reputation.

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IFEA’s ie: the business of international events

Remember All Those Who Helped You Get Where You Are Today? The IFEA “Fund for the Future” provides critical funding to ensure that the IFEA has reserves in place to protect against future economic shifts and realities in a constantly changing world; to allow the organization to

keep pace with new and changing technologies necessary to communicate with and serve our global industry; and to support a continued expansion of our services, resources, programming and outreach around the world.

Pay it Forward With a Gift to IFEA’s

‘Fund for the Future.’ Your donation will ensure that our world always has something to celebrate!

Contact any IFEA Foundation Board, IFEA World Board, or IFEA Staff Member for more information. Individual and Organizational Contributions are welcomed and encouraged. All contributions are tax-deductible in the United States.

For more information go to www.ifea.com.